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DaVinci
Resolve 18
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DAVINCI
RESOLVE 18
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Author: Mary Plummer
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The Fairlight Audio Guide to
DaVinci
Resolve 18
The Fairlight Audio Guide to DaVinci Resolve 18
Mary Plummer
Blackmagic Design
www.blackmagicdesign.com
Notice of Rights
All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic,
mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information
on getting permission for reprints and excerpts, contact learning@blackmagicdesign.com.
Notice of Liability
Neither the author nor Blackmagic Design shall have any liability to any person or entity for any loss or damage caused
or alleged to be caused directly or indirectly by the information contained in this book, or by omissions from this book,
or by the computer software and hardware products described within it.
Trademarks
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks.
Where those designations appear in this book, and Blackmagic Design was aware of a trademark claim, the designations
appear as requested by the owner of the trademark. All other product names and services identified throughout
this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement
of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation
with this book.
macOS is a registered trademark of Apple Inc., registered in the U.S. and other countries. Windows is a registered
trademark of Microsoft Inc., registered in the U.S. and other countries.
ISBN: 979-8-9872671-4-1
Contents
Foreword ix
Acknowledgments x
About the Author x
Who This Book Is For xi
Getting Started xii
Introducing Blackmagic Cloud xxii
1 Building a Soundtrack 1
Opening and Playing a Project 2
Previewing Audio Clips in the Media Pool 11
Working with Markers 14
Adding Audio Clips to the Timeline 17
Naming and Moving Tracks 19
Marking and Editing Select Portions of a Clip 20
Changing Clip Volume Levels in the Inspector 24
Showing, Hiding, and Zooming In and Out of Tracks 26
Changing Clip Levels in the Timeline 29
Manually Creating a New Track 33
Adding Sound Effects to the Sound Library 34
Moving and Trimming Clips to the Timeline Grid 38
Balancing Track Levels 47
More Drama Please! 54
Lesson Review 54
Contents iii
Patching a Track for Recording 72
Recording in the Timeline 77
Setting Up an ADR Session 83
Recording ADR Cues in the Timeline 92
Importing an ADR Cue List 95
Recording the Built-In System Generator 101
Practicing More FX 109
Lesson Review 110
iv Contents
6 Repairing and Replacing Unwanted Sounds 229
Preparing the Project 230
Exploring the Focus Mode Multi-Tool 232
Reducing Plosives with Keyframes 238
Replacing Words from Outtakes 248
Adding Fades to Smooth Sound Edits 256
Filling Gaps with Room Tone 264
More Room Tone Please! 273
Lesson Review 275
Contents v
9 Pre-Mixing Levels and Panning Tracks 409
Preparing the Project 410
Using Reference Tracks to Set Monitoring Levels 413
Customizing the Interface 420
Evaluating and Setting Initial Track Levels 423
Finding the Right Balance between Two Background Tracks 426
Linking Tracks for Single‑Fader Control 428
Placing Audio in the Panoramic Sound Field 432
Exploring 3D Pan Controls 443
Lesson Review 451
vi Contents
Working with Bus Tracks in the Timeline 563
Moving Automation with Clips 565
Moving a Premixed Timeline into a Master Timeline 570
Lesson Review 575
Index 657
Contents vii
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Foreword
Welcome to The Fairlight Audio Guide to DaVinci Resolve 18.
DaVinci Resolve 18 is the only post-production solution that combines editing, color
correction, visual effects, motion graphics, and audio post-production all in one software
tool! Its elegant, modern interface is fast to learn for new users yet powerful enough
for the most experienced professionals. DaVinci Resolve lets you work more efficiently
because you don’t have to learn multiple apps or switch software for different tasks. It’s
like having your own post-production studio in a single app!
DaVinci Resolve 18 adds Blackmagic Cloud support for remote collaboration, DaVinci
proxy workflow, new Resolve FX, intuitive object masking, improved subtitling for editors,
Fairlight fixed bus to Flex Bus conversion, and so much more!
Best of all, Blackmagic Design offers a version of DaVinci Resolve 18 that is completely
free! We’ve made sure that this version of DaVinci Resolve includes more features than any
paid editing system. That’s because at Blackmagic Design we believe everybody should
have the tools to create professional, Hollywood-caliber content without having to spend
thousands of dollars.
I invite you to download your copy of DaVinci Resolve 18 today and look forward to seeing
the amazing work you produce!
Grant Petty
Blackmagic Design
Foreword ix
Acknowledgments
We would like to thank the following individuals for their contributions of media used
throughout the book:
— Steven Esparza for the Girl on Wave trailer. Girl on Wave is a feature length
documentary film produced and directed by Steven Esparza, and written by
Steven Esparza and Sarah Hauser. Property of ECHOHOUSE films,
www.echohousefilms.com.
— Nguyen-Ahn Nguyen for Hyperlight, a short film produced and directed by
Nguyen-Ahn Nguyen. Written by Nicholas Billon, based on an original idea by Nguyen-
Ahn Nguyen and Simran Dewan. Property of Nguyen-Ahn Nguyen.
— Dolby Laboratories, Inc. (www.dolby.com) for the use of the Dolby Demonstration
audio-visual content Nature’s Fury for the purposes of demonstration of Dolby
technology publicly for training.
Mary currently works for Blackmagic Design with their marketing and curriculum
development team.
As you step through the lessons, you’ll gain experience with Fairlight’s powerful new
features: ADR tools, external sound libraries, video and audio scrollers, fixed-playhead
playback, clip normalization, built-in native audio plug-ins, and more! Best of all, you no
longer need to send projects out to another audio application because DaVinci Resolve 18
puts professional audio post tools just a click away from your editing tools and timeline.
This guide blends practical, hands-on exercises with the real-world “craft” of audio post-
production such as sound editing, dialogue editing, dialogue repair and replacement,
sound design, sound effects editing, and mixing. As you step through Resolve 18’s real-
world audio post-production tools and workflows, you’ll discover new techniques for
whatever tasks you take on. You’ll go deeply into audio editing and mixing in the Resolve’s
Fairlight page to explore tricks and techniques used by professional audio editors, sound
designers, and engineers to enhance the soundtracks in your projects.
After completing this book, you are encouraged to take the 50-question online proficiency
exam to receive a Certificate of Completion from Blackmagic Design. The link to the exam
is located at the end of this book.
Lesson 1
Plunges you into the middle of an exciting movie trailer’s soundtrack as you explore the
Fairlight page interface and tools and finish building the soundtrack.
Lesson 2
Utilizes three practical recording techniques to develop voiceover tracks; perform
automated dialogue replacement (ADR); and use Resolve’s built-in oscillator, to record
noise and tones that you can apply to multiple creative sound design and sound
effects tasks.
Lesson 3
Explores Resolve 18’s unique audio track layers. You will edit a composite of the best takes
from a voiceover recording and create crossfades between music clips in the same track.
Lessons 4, 5, 6, and 7
These lessons focus on dialogue tracks and the jobs of a dialogue editor. In Lesson 4,
you’ll explore channel mapping as you prepare multichannel clips for dialogue editing.
In Lesson 5, you’ll create a checkerboard edit that splits each character’s dialogue clips
to a separate track, and balance the clip levels within each track. In Lesson 6, you’ll apply
common dialogue repair and replacement techniques to reduce plosives and other
unwanted sounds, and then stitch together a room tone track to create a seamless
dialogue scene. In Lesson 7, you’ll use advanced FairlightFX dialogue repair tools such as
the De-Hummer, De-Esser, and Noise Reduction plug-ins—as well as the gate dynamics
processor in the mixer to remove hum, sibilance, and noise.
Lesson 13
This lesson steps you through bouncing stereo and 5.1 timelines to create stems. You’ll
also explore a finishing workflow for panning and linking six mono tracks into a single 5.1
surround track. Then, you’ll move to the delivery page to render your final stems and mix
to meet various delivery standards.
Lesson 14
In this lesson, you’ll work with a professionally produced Dolby Atmos project to explore
the Dolby Atmos integration built right into the Fairlight page.
Whether you want an introductory guide to DaVinci Resolve or you want to learn more
advanced editing techniques, color grading, sound mixing, or visual effects, our certified
training program includes a learning path for you.
After completing this book, you are encouraged to take a 1-hour, 50-question online
proficiency exam to receive a certificate of completion from Blackmagic Design. The link
to the online exam can be found on the Blackmagic Design training web page.
System Requirements
This book supports DaVinci Resolve 18 for Mac and Windows. If you have an older version of
DaVinci Resolve, you must upgrade to the current version to follow along with the lessons.
NOTE The exercises in this book refer to file and resource locations that will
differ if you are using the version of software from the Apple Mac App Store.
For the purposes of this training book, if you are using macOS we recommend
downloading the DaVinci Resolve software from the Blackmagic Design website,
and not the Mac App store.
4 On the download page, click the Mac or Windows button, depending on your
computer’s operating system.
Getting Started xv
When you have completed the software installation, follow the instructions in the following
section, “Acquiring the Lesson Files,” to download the content for this book.
3 Scroll the page until you locate The Fairlight Audio Guide to DaVinci Resolve 18.
4 Click the Lesson Files Part 1 link to download the media for the first lesson of the book.
The R18 Fairlight Part 1.zip file is roughly 480 MB in size.
5 Click the Lesson Files Part 2 link to download additional media for Lessons 1, 2, and 8.
The R18 Fairlight Part 2.zip file is roughly 400 MB in size.
6 Click the Lesson Files Part 3 link to download the media for the project you will use for
Lessons 2 through 13. The R18 Fairlight Part 3.zip file is roughly 4.7 GB in size.
7 Click the Lesson Files Part 4 link to download the media for the project you will use for
Lesson 14. The R18 Fairlight Part 4.zip file is roughly 570 MB in size.
8 After downloading all four of the zip files to your computer, open your Downloads
folder and double-click to unzip them if they haven’t unzipped automatically.
10 From your Downloads folder, drag the R18 Fairlight Part 1, R18 Fairlight Part 2, R18
Fairlight Part 3, and R18 Fairlight Part 4 folders into the R18 Fairlight Audio Guide
Media folder that you created in the previous step.
It’s a good idea to index your personal sound effects collections and project-specific sound
collections that belong to the client in separate project libraries in the Project Manager to
keep them organized by collection and to make it easier to remove them if needed when a
project is done.
In the next exercise, you’ll create a new Project Library for the Sound Library that you can
use to index the sound effects that come with the project media.
With DaVinci Resolve 18, project libraries can be Local, Network, or Cloud-based. Local
project libraries are for projects and media on your system. Network project libraries are
for computers networked in the same building or network. Cloud project libraries can be
shared by users anywhere in the world.
For this book, you’ll create and use a Local project library.
1 Click the Show/Hide Project Libraries button at the upper left of the Projects window to
open the Project Library sidebar.
2 At the bottom of the sidebar, click the Add Project Library button.
The new disk database appears in the Disk database section of the Databases sidebar.
The new soundfx database that you created will be used for indexing sound effects in
Lesson 1.
5 In the Project Manager, open the local disk database that you wish to use for the
lesson projects.
2 In the Project Manager window, open a new project or an existing project. Any project
will work.
3 In the Fairlight page, in the interface toolbar in the upper left of the page, click the
Sound Library tab to show the Sound Library panel.
If the Fairlight Sound Library is not installed on your system, you will see the following
message along with a handy Download button.
xx Getting Started
NOTE If you do not see the “Download DaVinci Resolve’s Free Sound Library”
message in the Sound Library panel, you already have it installed and you can
move on to Lesson 1.
If you wish to register, download, and install the free Fairlight Sound Library, you can
do so now, or later if you prefer. This is completely optional and is not required to
follow along with the book exercises or certification exam.
4 Click the Download button to go to the Blackmagic Design website support page and
the Blackmagic Fairlight Sound Library 1.0 Register and Download form.
5 Fill out the online form and start the download. Once the download is complete, run
the installer.
The installer creates a library (database) and indexes the sounds automatically so they
will be ready to use the next time you open DaVinci Resolve.
MORE INFO You can learn more about the Sound Library in the “Using the
Fairlight Page” section of the DaVinci Resolve Reference Manual available via
the Help menu.
Now Blackmagic Cloud lets editors, colorists, VFX artists, animators, and sound engineers
work together simultaneously from anywhere in the world. Plus, they can review each
other’s changes without spending countless hours reconforming the timeline.
Simply create a Blackmagic Cloud ID, log in to the online DaVinci Resolve Project Server,
and follow the simple instructions to set up a new project library—all for one low
monthly price!
Once created, you can access this library directly from the Cloud tab in the Project
Manager to create as many projects as you need—all stored securely online. Then invite up
to 10 other people to collaborate on a project with you. With a simple click, they can relink
to local copies of the media files and start working on the project immediately, with all their
changes automatically saved to the cloud.
Enabling Multiple User Collaboration for your project means that everyone can work on
the same project at the same time—edit assistants, editors, colorists, dialogue editors,
and visual effects artists can now all collaborate wherever they are in the world in a way
never before possible.
Building a
Soundtrack
for your entire production. And here’s Marking and Editing Select
Portions of a Clip 20
the kicker: the audience doesn’t care
Changing Clip Volume Levels
how you got there; they just want the
in the Inspector 24
experience to be awesome. So, it is
Showing, Hiding, and Zooming
up to you as the audio editor, sound In and Out of Tracks 26
designer, supervising sound editor, Changing Clip Levels in the Timeline 29
re-recording mixer, or all of the above Manually Creating a New Track 33
to deliver a professional‑quality Adding Sound Effects
soundtrack regardless of your budget, to the Sound Library 34
In this lesson, you’ll step into the role of the audio editor at a busy trailer post-production
house where you use the Fairlight page to finish building an exciting 1-minute trailer
soundtrack for the documentary film Girl on Wave, directed by Steven Esparza of EchoHouse
Films. Along the way, you will explore the interface, build tracks, edit and trim audio clips,
and balance the volume levels while taking ongoing directions from the “clients” to follow
their creative lead as inspiration strikes. Let’s get started.
NOTE This project assumes you have downloaded the media for this book.
If you are unsure, return to the “Getting Started” section of this book and follow
the download instructions in “Acquiring the Lesson Files.”
Let’s begin by opening the project with most of the trailer soundtrack already created
so you can get to know the Fairlight audio timeline and playback controls. Once you are
comfortable with navigation and playback, you’ll use additional interface panels and tools
to finish the project.
The toolbar includes The transport controls include The interface toolbar shows
zoom sliders, commands, standard and audio-specific and hides various palettes
and modes buttons. transport functions. such as the mixer and meters.
monitoring panel
mixer
The default Fairlight page layout includes the timeline, monitoring panel, and mixer.
The timeline is optimized for audio mixing and uses single channel or multichannel tracks.
The project opens in the Fairlight page with the audio timeline, monitoring panel,
and mixer visible. The 1 GOW Trailer Basic Tracks Start timeline includes six colorful
audio tracks. The track colors were added for this lesson to help organize each track’s
contents ranging from dialogue to sound effects and music.
NOTE If your project does not open to the Fairlight page, or additional panels
are visible, click the Fairlight button at the bottom of the screen to go to that
page. To reset your user interface, at the top of the page, choose Workspace >
Reset UI Layout.
This timeline has only one stereo track containing the finished mix of the trailer.
The corresponding frame of video is displayed in the viewer in the upper-right corner
of the interface.
To move the playhead to a specific timecode, you can use the timeline ruler and
corresponding timecode display as a guide.
Timecode display
TIP You can right-click the timecode display to choose a different timecode
format including SubFrame, Samples, and film Feet and Frames.
3 Press the Home key or click the Timecode ruler at the beginning of the timeline
to move the playhead to that position (00:00:00:00).
The transport controls above the timeline toolbar are the standard buttons that you’ll
find on any professional audio recording and playback device.
Automation
Fast forward Stop Loop Controls
As the name suggests, the monitoring panel displays all the audio and video contents
of the current timeline. The mixer shows a large channel strip for each track, as well as
the main output.
If you’re gripping the edge of your desk with white knuckles and thinking that there are
too many meters and buttons to keep track of, you can relax. The Fairlight page is as
user-friendly as it is powerful. At any time, you can simplify the interface to show just
those tools you need as you need them.
6 In the interface toolbar at the upper right of the screen, click the Mixer button to hide
the mixer.
You’ll work with the mixer and monitoring panels extensively in later lessons. For now, let’s
simplify the interface by expanding the viewer as a separate window and hiding the meters.
1 In the lower-right corner of the viewer, click the Expand button or choose Workspace >
Fairlight > Floating to turn the viewer into a floating window.
The viewer appears in the middle of the interface. Now, you can drag the top of the
viewer to move it, and drag its edges or corners to resize it.
To return the viewer to the monitoring panel, you can click the Dock button in the
upper-right corner of the viewer, or press Return/Enter. For now, let’s leave the viewer
open as a separate window.
NOTE Feel free to resize or move the viewer at any time as you work through
these exercises.
If you have a Blackmagic DeckLink card or UltraStudio, you can also view the video on a
second video display.
Normally, you would not be able to fast-forward to the end of a project and listen to its mix
ahead of time. However, because this is a training book, and you happen to have the mix
already in your timeline, this is a wonderful opportunity to see and hear what you are striving
to accomplish before you build the tracks in this lesson. In this exercise, you’ll listen to the
finished mix once, and then open the starting version of the timeline and evaluate the tracks.
Now that you have heard the mix, let’s go back to the starting timeline.
2 In the timeline dropdown menu, choose 1 GOW Trailer Basic Tracks Start.
To evaluate the tracks, you can use the controls in the track headers. At the left of each
track, the header shows each track’s name, number, and control buttons.
Volume Arm
field button
Lock Mute
button button
4 Click any empty space on the A1 DIALOGUE track header to select that track.
Notice that when a track header is selected, the name and number turn red, and the
track brightens.
NOTE Track selection is important when you are recording or editing using
shortcuts. You can evaluate tracks without selecting them; however, it is always
a good idea to be aware of which tracks or clips are selected as you work.
Now let’s try using the Solo and Mute buttons on several tracks. Solo isolates a track by
temporarily muting all other tracks. Mute silences a track until it is unmuted. You can
click these buttons to toggle each control on and off during playback.
6 Solo the A2 WAVES 1 track, and then mute the A5 WIND track.
7 Start playback from the beginning of the timeline. At around 00:00:12:00, unsolo the
A2 track. Then, solo the A1 DIALOGUE track and listen to the last two dialogue clips.
When you are finished, stop playback.
As you can hear, the Mute and Solo buttons are an easy way to selectively listen to
specific tracks during playback. You can also swipe them on or off to quickly solo
multiple tracks at once. Let’s leave the A5 track muted and try swiping the Solo buttons
on the other sound effects tracks.
Your goal is to evaluate the sound effects tracks to see how well they enhance the
impact of the visuals. First, you’ll listen only to the waves and water sound effects (FX)
on tracks A2, A3, and A4. Then, you’ll play the timeline again while listening to all the
tracks and evaluate the A5 WIND track with the other tracks.
8 Unsolo the A1 track. Start playback from the beginning of the timeline. Starting from
the Solo button on the A2 track, drag downward across the Solo buttons on the A3
and A4 tracks. When you are finished playing the clips, stop playback.
Now it’s time to evaluate the section of the timeline that includes the wind effect. Instead
of starting playback at the beginning of the timeline, let’s start closer to the action.
11 Click the timeline ruler between the yellow and teal markers (at around 00:00:07:10).
12 Start playback and click the Mute button on the A5 WIND track to toggle the
track off and on several times to hear the soundtrack without and with the wind
sound. When the wind clip is finished and the viewer shows underwater footage,
stop playback.
14 To replay the exact same section of the timeline, choose Playback > Play Again, or
press Option-L (macOS) or Alt-L (Windows).
Take this trailer as an example. Not only was a wind effect present in the actual trailer’s
soundtrack, but the sound of a tornado was included to really intensify the sense of
danger. As you work through these lessons, you’ll learn that sound is cumulative, and
a little bit goes a long way. Even so, sometimes during key dramatic moments, more is
better, and on occasion too much is best.
Sound designers routinely mix all kinds of sounds to create more dramatic effects such as
adding a lion’s roar to the Death Star explosion in Star Wars IV: A New Hope, or in this case,
violent winds to intensify the sound of strong waves.
By the way, the clients returned with their double lattes while you were evaluating the
tracks, and they are anxious to see how the second half of the trailer works with the music.
What music? The exciting trailer music is conveniently located in the media pool with the
other audio files.
Next, you’ll explore the media pool to preview, mark, and edit additional audio clips into
the timeline—starting with the music.
1 In the upper-left corner of the interface toolbar, click the Media Pool button to open
the media pool.
Waveform zoom
dropdown menu
Source audio
waveforms
Jog bar
playhead
Master
bin list
2 In the media pool bin list, click the Audio Clips bin to view its contents.
You can view source clips in either metadata or thumbnail view. The default is
thumbnail view. If you look carefully, you’ll see that each audio clip’s thumbnail shows a
graphical representation of the waveform.
3 Select the Get With Me for GOW Trailer clip to load it into the preview player at the
top of the media pool.
To see more information about your media files, let’s change to list view.
List view is handy for reading clip names and sorting clips by a specific column. In
this case, let’s use the list view to find and preview another type of music clip called
a stinger. Stingers are single notes or chords–often strings–that are inserted to add
tension and suspense.
6 Select and preview the clip STINGER. While you listen to the clip, try to imagine where
it might go in the soundtrack.
So, what did you think of the stinger? The clients love it! Out of context, the stinger might
seem like overkill, but once it is placed in the timeline and the levels are balanced with
the other tracks, you’ll understand the power of the stinger. Any idea where to place it?
Stay tuned to find out.
You’ll add these clips previewed to the timeline in a few minutes. First, let’s look at the
Markers index and the timeline markers that you’ll use as a guide for adding the clips.
1 In the upper-left corner of the interface toolbar, click the Index button to open the
Index panel. Then, at the top of the Index panel, click the Markers button to show the
Markers index.
The Markers index opens in the lower-left corner of the page below the media pool.
Here you can see the current timeline markers and a corresponding thumbnail frame
for each marker. Just as with the media pool, you can view the markers in either
thumbnail or list view.
2 In the Markers index toolbar, click the List View button to change the index to list view.
In list view, you can see columns that show each marker’s number, name, and other
information. You can use the marker thumbnail icons to move the playhead to the
selected marker. Let’s try it.
Here is where you will add the first music clip. Let’s take a moment to streamline the
information in the Markers index columns.
4 Right-click the column headers and deselect all the checkboxes except #, Frame,
Name, Color, Notes, and Keyword.
Now you can clearly see the Name, Color, and Notes for each marker in the list.
NOTE You can sort the marker list by any column header.
5 Click anywhere in the timeline to make it active. Then press Shift-Down Arrow to move
to the next marker.
6 In the timeline, double-click the yellow marker beneath the playhead to open the
Markers panel, and enter the information as follows:
7 Click Done.
8 In the timeline, press Shift-Up Arrow to move the playhead to the previous marker, or
in the index, double-click marker 7.
In the next exercise, you’ll add a music clip to the timeline using this marker as a guide.
NOTE You can edit marker names and notes directly in the Index.
The preview player includes a handy dropdown menu that shows the 10 most recently
accessed clips.
1 At the top of the media pool, click the dropdown menu arrow and select
Get With Me for GOW Trailer.wav.
2 Drag the clip from the waveforms at the top of the preview player to the playhead
position in the A6 MUSIC track.
3 Resize and move the viewer to the lower-right corner of the timeline to make room for
the next music clip.
It’s time to add the stinger to a new track. You could place it in the A6 track with the
other music clips, but because there’s no limit to the number of tracks you can use in
your soundtrack, let’s create a new one just for the stinger.
As for placing it, your clients suggest that you place it right before she falls, or right
after she falls, or perhaps under the close-up shot of her face while she reflects on the
fall. In light of the clients’ indecision, let’s try starting it with the dramatic wind FX.
4 Drag the STINGER clip from the media pool list to the playhead position (the Wind FX
marker) below the A6 track.
5 Play the timeline from the beginning and listen to the new music clips in the soundtrack.
The soundtrack is coming along nicely. As you just heard, the right music choices make a
big difference. In this case, the stinger adds a dramatic element to the action sequence,
and the theme song carries the entire second half of the trailer without the presence of
any other sound effects.
TIP With DaVinci Resolve 18, you can change the volume level of a clip in the media
pool prior to editing it to the timeline. This can be a real time saver as you work.
Simply select the clip in the media pool and adjust the level in the Inspector while
using the Control Room meters as a guide.
To move a track up or down, you can use the right-click shortcut menu in the
track header.
The STING track moves above the MUSIC track, while the track numbers remain in order.
Next, you’ll apply all the skills you’ve learned so far to preview and edit the last voiceover clip.
TIP To quickly rename sequential tracks, select the Name field of the first track
and type the name in the field. Then, press Tab to automatically select the Name
field in the next track so you can type a name. Continue to press Tab as needed to
sequentially move to the next name field. Additionally, you can drag and drop to
change the order of individual tracks or multiple selected tracks in the tracks index.
Production audio files often have complicated numeric names based on the recording
metadata. Although you could rename the clips or use metadata as a reference as to
their content, it’s a good idea to keep the original names when the clips are edited into
the timeline. As luck would have it, the voiceover file for this timeline has a numeric name.
Instead of hunting for the clip you need, let’s use one of the voiceover clips already in
the timeline to find the original clip in the media pool.
1 In the A1 DIALOGUE track, right-click one of the yellow clips, and choose Find in
Media Pool.
The source clip is selected in the media pool and source viewer. Notice the yellow
markers in the preview player jog bar. You can navigate through clip markers in the
preview player just as you can with timeline markers. They also appear in the Clip
Name list.
3 In the list, click the marker named Line 3 to move the preview player playhead to
that marker.
NOTE You can press Shift-Up Arrow or Shift-Down Arrow to move from marker
to marker in the preview player. Also, when the playhead moves to a marker,
the marker information appears in the preview player.
Your goal is to choose the best take for Line 4 and mark it. Let’s change the zoom level
in the preview player to see more of the clip’s audio, and then use the jog bar to find
the last line of voiceover.
At this zoom level, you can clearly see the multiple voiceover phrases over time.
Each phrase has a distinctive appearance in the waveform.
5 Press End to move the playhead to the last frame of the source clip.
Chances are that the last sets of peaks represent the three takes of the last voiceover line.
6 Drag the white jog bar to the left until the source playhead is placed before the first
set of peaks. (It’s around 08:04:35:00 in the source timecode field in the upper-right
corner of the source viewer.)
7 Press M to set a marker on the source audio clip. Press M again to open the Markers
dialog. Then, in the Markers dialog, type Line 4. In the Notes field, right-click and
choose Paste or type My name is Sarah Hauser and this is my story. Finally, change
the marker color to yellow. When you are finished, click Done.
2 Press K when you hear the voice of director Stephen Esparaza giving Sarah feedback
after her first take.
3 Press the JKL keys to preview the last two takes. When you are finished, move the
playhead to the beginning of your favorite take. If you aren’t sure which one to choose,
use take 2 at 08:04:43:00.
1 Click the Mark In button or press I to mark the In point at the beginning of the take.
2 Hold down L to scrub through the take. When you are finished, release the L key.
3 Click the Mark Out button, or press O, to mark an Out point at the end of the take.
With the In and Out points marked, you’re ready to edit that section of the clip to
the timeline.
4 In the timeline, click the timeline ruler above the last yellow marker to move the
playhead to that frame.
You might have immediately noticed that the music is so loud you can’t hear the last line of
voiceover. No worries, you can easily fix that in the Inspector.
1 To the left of the interface toolbar, click the Media Pool and Index buttons to hide
those panels.
2 To the right of the interface toolbar, click the Inspector button to show the Inspector.
3 In the A1 track, select the fourth yellow clip to see the clip’s controls in the Inspector.
The Audio panel in the Inspector includes controls for the selected clip including:
Volume, Pan, Pitch, Speed Change, and a four-band Clip Equalizer. In this exercise,
you’ll use the Clip Volume controls. You can see that the current volume level for the
selected clip is 0.00. This does not mean that the clip volume is actually at 0 decibels
(dB). Instead, the Clip Volume field indicates the amount of volume change (gain) being
applied to the original source level. In this case, it is no change at all.
According to the Clip Volume field, this clip’s gain level is raised by 10.00 dB.
5 Select the first clip in the A1 track to see that clip’s level (11.70 dB).
You can change the Clip Volume in the Inspector by dragging the Volume slider,
typing a new number in the Volume field, or dragging left or right on the field.
6 Select the fourth clip in the A1 track, and in the Inspector, raise the Clip Volume level
between 10.00 and 12.00. You’ll finesse this level later. Hide the Inspector.
7 Play the fourth clip in the timeline and listen to the new volume level with the music.
The music is still dominant in this section. So then, which is the priority: the music or the
voiceover? Before you decide, let’s learn how to hide all but the dialogue and music tracks,
and use the Zoom sliders to adjust the size of the remaining tracks as needed.
You’ll now work within the Tracks index to hide most of the tracks while you focus on
just the dialogue and music tracks. Because you don’t need the viewer for the next few
exercises, let’s hide it as well.
NOTE In future steps, you will simply be instructed to show or hide the viewer.
2 Show the index, and then click the Tracks tab to show the Tracklist.
Here you can see a row for each track. To the far left of the Tracklist, you can see
visibility controls represented by eye icons. You can click these controls off and on to
hide or show a track. Or, you can click and swipe multiple contiguous tracks off and
on at once.
NOTE You can also swipe on or off track controls, including Track Lock, Record
Enable, Solo, and Mute. Additionally, the improved Tracks index lets you
double-click to rename tracks and drag and drop to reorder tracks, right in the
tracks list!
3 In the Tracklist, with your pointer over the visibility control for track A2, drag down over
the visibility controls for tracks A3 through A6 to hide them.
Next, you’ll resize the tracks using the zoom sliders located in the toolbar above
the timeline.
4 Drag the vertical zoom slider to the right to increase the height of the timeline tracks.
5 Drag the horizontal zoom slider to the right to zoom in to the waveform at the
playhead position.
6 Press Shift-Z to fit the timeline clips horizontally in the visible timeline area.
TIP You can use the zoom sliders in the toolbar to zoom in or out of the
timeline vertically or horizontally. Vertical zooming is based on track selection,
whereas horizontal zooming centers on the playhead. Press Shift-Z to toggle
between zoom to fit horizontally and the previous zoom level.
Now that you have a focused view of the dialogue and music tracks, let’s adjust the music
track levels to accommodate the voiceover or vise versa.
If the voiceover track always takes priority, what happens to the music? In this project,
music drives the entire second half of this trailer’s soundtrack. Turning down the entire
music clip to accommodate one dialogue line near the end is not a viable option. The
solution is to reduce, or dip, the music clip’s volume level only during the voiceover clip.
This technique is also called ducking. First, let’s adjust the overall clip level in the timeline,
and then add keyframes to change the track levels as needed.
Each timeline audio clip includes a volume level curve that looks like a white horizontal line
across the upper third of the clip. To adjust the volume level of a timeline clip, you can drag
the clip’s volume level curve up or down.
1 In the Get With Me clip, drag down the clip gain line to reduce the clip’s volume level.
To bend the clip gain line so that the volume level changes over time, you can
Option‑click (macOS) or Alt-click (Windows) the curve to add keyframes. An Add
(+) tooltip appears near the pointer to indicate that clicking the gain line will add
a keyfame.
Let’s use the voiceover clip on the A1 track as a guide for setting the keyframes.
4 Place another keyframe before the first one and after the last so you have a pair
of keyframes on either side of the yellow dialogue clip.
Now you can raise or lower the portion of the music clip that is between the
keyframes, and in the Inspector, see the change in volume level. The Inspector will
show the volume level of the selected clip at the playhead position.
The dialogue and music now work much better together. If the audio transition sounds
too abrupt, you can increase the space between your pair of keyframes and make the
initial music fade down more gradually. The trick to moving keyframes for timing is to
hold down the Shift key as you drag to constrain the movement to a horizontal axis.
This takes a little practice, so take your time; if you make any unintended level changes,
you can choose Edit > Undo and try again. Shift constrains movement as you drag, so
you first need to start the maneuver, and then hold Shift.
8 Play the dipped music section one more time to make sure you are satisfied with
the results.
Well done! You’ve dipped your music clip level to accommodate the voiceover. Next, you’ll
create a new track and use the Sound Library to add another audio clip to the timeline.
In the Add Tracks dialog, you can determine how many tracks you add and where
they are placed.
2 Set the Number of tracks to 1, set Insert Position to Below WIND, and set the Audio
Track Type to Stereo.
Now, let’s use the Sound Library to find and audition an effects clip.
NOTE With DaVinci Resolve 18, using the right-click contextual menu from the
track header to Add Track creates the new track directly below the selected track.
NOTE This exercise assumes that you have followed along with the “Getting Started”
section of this book and downloaded the SFX Sampler for Fairlight folder and
created a new soundfx database. If not, please return to the “Getting Started”
section of this book and follow the instructions in “Setting Up Your Sound Effects
Database.” Additionally, DaVinci Resolve 18 includes the Fairlight Sound Library,
which you were also instructed to download and install in the “Getting Started”
instructions. You will use those sounds in Lesson 8.
In this exercise, you’ll add the downloaded SFX Sampler for Fairlight folder contents to
your database.
1 In the interface toolbar, click the Sound Library button to show the Sound Library.
Once you have selected a database in the menu, you can add sounds. In this case,
you’ll add the SFX Sampler for Fairlight folder located in R18 Fairlight Part 2.
4 In the upper-right corner of the Sound Library, click the Options menu (three dots)
and choose Add Library or click the Add Library button in the middle of the Sound
Library panel.
5 In the browser, select the SFX Sampler for Fairlight folder and click Open.
You will see a brief progress dialog while the clips are scanned and indexed.
When finished, a dialog indicates that the scan was successful.
6 Click OK.
Your sample sound library is ready to search. Next, you’ll determine where you want
to add a sound effect in the timeline.
In the following exercise, while watching the viewer, you’ll move the playhead to a specific
timeline position based on the onscreen action. Then, you’ll select the A6 IMPACT FX track
and search for a sound effect to audition. Once you find the right sound effect, you can
commit within the Sound Library without needing to drag the clip into the timeline.
For this example, the clients want you to find an impact sound effect to accentuate the
action when Sarah falls from her board. At the moment, the stinger that you added earlier
is dominating the soundtrack during her fall; so, let’s mute the stinger while you audition
the impact effects.
1 Show the viewer and move it to the empty space in the upper-right corner of
the timeline.
3 Play the timeline from the beginning, and stop playback when Sarah falls from the
board at the top of the high wave at approximately 00:00:12:05.
Now, you can find a sound effect to audition in the Sound Library.
The process of selecting and previewing sounds in the Sound Library is very similar
to working in the media pool source viewer.
7 In the Sound Library preview player, click the Play button or press the Spacebar to play
the sound effect.
All these impact sound effects are exciting—but don’t fit this trailer.
This sound effect has just the right level of drama and impact for the surf action
without distracting from the overall trailer soundtrack.
11 In the timeline, move the playhead back to the teal marker and play the timeline. Stop
playback when you hear the voiceover.
The sound effect works pretty well and adds one more dramatic element to the
sound design.
12 In the Sound Library, click the Confirm button to retain the sound effect in the timeline.
NOTE Clicking the Cancel button removes the previous sound effect and gives
you the opportunity to audition another audio clip in the same place. You can
also cancel the audition by selecting a different sound in the Sound Library.
Now that you know how to use the Sound Library, you can audition your own sound
collections in your projects. In Lesson 8, you will work with the Sound Library and the Foley
sound effects that come with Resolve.
To move clips in the timeline, you simply drag or nudge them to a new location. For this
exercise, you’ll move a clip based on the first frame of a video clip onscreen, so you’ll use
the video track in the timeline as well as the viewer as a guide. Additionally, the Fairlight
timeline in DaVinci Resolve 18.1 offers a new grid that you can use for precision editing,
trimming, and aligning clips to seconds, frames, or even subframes.
You’ll find the options to show or hide additional timeline elements, like the video tracks, in the
Timeline View Options menu located in the upper left of the timeline right next to the new
Grid View Options menu. As you might have guessed, the Grid View Options menu is where
you’ll go to customize and show the grid. Let’s start with the Timeline View Options menu.
1 In the Timeline View Options menu, click the video tracks icon. Then, click the timeline
to hide the menu.
The video tracks from the edit page appear at the top of the timeline. You can now use
those individual video clips in the track as a guide when placing your audio clip.
3 Zoom in horizontally to the playhead for a better view of the video clips beneath the
purple marker.
Next, you’ll show the grid, customize the settings if necessary, and enable grid
snapping.
4 Click the Grid View Options menu to show the different Grid options.
5 In the Grid View Options menu, click both of the Edit Grid options to enable “Show
grid” and “Snap to grid.” Set the Time Scale to timecode (clock icon) and the Resolution
to 1 frame. Then, click the timeline to hide the menu.
The grid is now visible in the timeline with vertical gridlines for each frame in the
timecode ruler. Now you can move the clip in the Impact FX track to the new position
and use both the grid lines and video for alignment.
6 Select the A6 track and increase the vertical height until you can clearly see the
waveform in the timeline.
8 Press Shift-Z to fit the timeline clips horizontally to the visible timeline area. Zoom
vertically until you see all the tracks.
NOTE Shift-Z is a toggle between “Zoom to fit timeline” and the previous
zoom level.
9 Play the timeline from the teal marker to the second yellow marker to hear how the
sound effect works in its new position. Press Option-L (macOS) or Alt-L (Windows) to
replay that section.
As promised, the effect works even better here and adds to the dramatic flash cuts
that happen next. Did you notice that the end of the sound effect is silent? For that
reason, you might think the effect is longer than it actually is. Let’s take a moment to
trim the tail end of the sound effect.
To trim a timeline audio clip, you can drag an edge of the clip toward the right or left.
While trimming, you’ll see a translucent waveform image of the entire audio file that
you can use as a guide as you trim.
Let’s remove the silence from the end of the stinger clip as well.
The clients are happy, but, as clients will, they want just one more thing to enhance
the drama of Sarah’s reflection moment. They want you to create silent gaps in the
soundtrack to match the flash cuts on the video track. And, of course, your answer
is “Sure!”
NOTE If you didn’t finish all the steps in this lesson, open the timeline 2 Trailer
FX and Music to catch up.
In this exercise, you’ll find the gaps in the video track and use the Range Selection tool
to select and delete those sections of audio in the timeline. Along the way, you’ll use
additional techniques to zoom and navigate in the timeline along with the grid.
2 Zoom as needed until you can see all the clips and tracks, including the video tracks.
4 Drag the horizontal zoom slider or press Command-= (equals sign) in macOS or Ctrl-=
(equals sign) in Windows to zoom in to the playhead until you can clearly see the gaps
in the video track. Drag the scroller at the bottom of the timeline as necessary to move
the gaps to the middle of the timeline.
TIP When dragging a specific range with the Range Selection tool, drag the
specific amount first—in this case, the gap—and then extend the range in
the other direction to include all the necessary clips. Once you drag a range,
you can use the nudge shortcuts , (comma) and . (period) with the Option-
Command modifier to move the range one frame at a time as needed.
Additionally, you can Shift-drag the edges of a range to trim.
5 Using the Range Selection tool, drag from left to right directly below the gap in the
video track, and then drag down until you include the clip in the A5 WIND track.
The green bar in the ruler above the timeline indicates the In and Out points of the
range. You can also see the range’s In and Out points in the timecode display. The
sections of the selected clips that are within the range brighten. You can now delete
that selected range.
7 Repeat steps 5 and 6 to delete the sound effects beneath the other two gaps.
8 When you’re finished, deselect the current range. Then, press A to return to the
standard selection mode.
10 Play the timeline from the purple marker to hear how your edits work with the
other tracks.
Wow! The gaps in the sound effects tracks sound awesome. Now let’s see what
happens when you add the stinger to the mix.
11 Unmute the A7 STING track and play the timeline from the beginning.
Overall, the soundtrack is really working. However, the stinger is fairly dominant and
possibly distracting before audio gaps and the soft-hit effect. Luckily, audio isn’t an all-or-
nothing medium. You might decide to tame the stinger by lowering the volume level—a
lot. Then again, you might love the stinger and want to keep it as it is. Ultimately, you have
to trust your own ears and creative judgement.
1 In the A7 STING track header, locate the volume level field, which currently reads 0.0.
Like the clip level field in the Inspector, the volume level field in the track header
indicates the amount of change applied to the original default track level.
You could try to change the level now while the playhead is stopped. However, if a
track’s level is competing with other tracks, it’s best to adjust the level while listening
to it in the context of the other tracks.
4 Close the viewer. Click the Mixer button to show the mixer.
Track fader
Meters
At a glance, you can see that the Fairlight mixer is loaded with controls, especially at
the top where you’ll find an Effects slot, EQ, Dynamics, and Pan controls. (You will be
working more extensively with each of these later in the book.)
For this lesson, let’s focus on the track faders for balancing the volume levels of the
tracks. Notice that the fader in the A7 channel strip reflects the volume change that
you applied in the track header.
The A1 DIALOGUE channel strip in the mixer brightens (just like the corresponding
A1 track in the timeline) to indicate it is selected.
You already balanced the levels of the clips in the A1 Dialogue track, so let’s assume
those levels are good. Specific target levels and delivery requirements will come later.
For now, this is your opportunity to use the most powerful audio input and processing
tool known to man—your ears—to balance the levels to your own taste.
6 Start playback from the beginning, close your eyes, and just listen to the timeline until
the “Get with me” song starts.
Did any sounds seem out of place or too loud?
7 In the interface toolbar, click the Meters button to show the monitoring panel
and viewer.
8 Play the timeline again and watch the video while listening to the tracks.
10 When you are finished, stop playback and hide the mixer.
11 In the Timeline View Options menu, hide the video tracks. In the Grid View Options,
turn off both of the Edit Grid icons to “Show grid” and “Snap to grid.”
Congratulations! The clients are almost happy. Yes, almost happy. Your clients have
another tiny request. They are wondering if you can add an echo to the second piano note
in the first clip on the MUSIC track so that it enhances the initial music cue. Sure!
2 Move the playhead to the beginning of the first clip and press I to set an In point. Move
the playhead to the end of the clip and press O to set an Out point.
The portion of the timeline within the In and Out points highlights.
3 Zoom horizontally and vertically until you clearly see the waveform in the first music
clip in the A8 MUSIC track.
4 Press Option-/ (forward slash) on MacOS or Alt-/ on Windows to play the marked
section from the In point to the Out point. Listen to the two piano notes in the
marked clip.
Next, you’ll use the Razor tool (scissors icon) to split the clip between piano notes.
7 In the timeline toolbar, click the Razor tool icon (scissors) to split the selected clip at the
playhead position.
There are now two clips at the beginning of the A8 MUSIC track. The first clip plays the
first piano note; the second clip plays the second note. You’ll add the Echo plug-in to
the second clip.
The Effects Library shows the FairlightFX at the top, followed by any VST effects or
Audio Unit effects installed on your system.
9 In the FairlightFX list, drag the Echo effect to the second clip in the A8 MUSIC track in
the timeline.
The Echo controls panel opens. Here you can adjust several FX controls. For this
exercise, let’s play the clip with the default Echo settings and use one of the Echo
presets to change the parameters.
10 Press Option-/ (forward slash) in macOS or Alt-/ (forward slash) in Windows to play the
timeline from the In to the Out points.
You can really hear the Echo effect on the clip. Now let’s apply one of the presets.
11 In the upper left of the Echo controls panel, click the Preset menu to see the available
presets. Choose Fast Ping Pong.
As you can hear, the Fast Ping Pong preset has a subtler echo effect than the default
preset but adds some nice depth to the sound along with a fast-moving delay back and
forth (ping pong) between the left and right channels.
If you need to see the controls again, you’ll find them in the Inspector.
1 In the timeline, select the clip, if necessary. Show the Inspector, Effects panel.
Parameter controls for the Echo effect appear at the bottom of the Inspector.
You’ll also see a trash icon to delete the effect and a Custom button to show the
controls window.
3 Feel free to experiment with the different Echo presets and plug-in controls. When you
are finished, close the Echo controls window.
5 Choose Mark > Clear In and Out or press Option-X (macOS) or Alt-X (Windows) to clear
the In and Out points.
6 Unsolo the A8 track. Hide the Effects Library and the Inspector.
Great job! You not only worked your way through most of the Fairlight interface, but you
also finished the trailer soundtrack and learned some real-world audio techniques.
Your goal is to really step up the element of danger in the action sequence by adding the
violent winds sound from a tornado effect. Fortunately, that effect is already in the media
pool. All you need to do is create a new track, find the sound effect, preview it, mark the
part you want to use, and add it to the timeline in the same position as the Wind clip.
Don’t forget to name the new track and check the volume levels when you’re done. If you
have any other creative impulses for improving the tracks or changing the mix, go for it
and have fun with it!
Lesson Review
1 In the default layout, which Fairlight panels display with the timeline? Choose all
that apply.
a) Mixer
b) Media pool
c) Index
3 Where in the Fairlight page can you go to open an existing timeline? Choose all
that apply.
a) Metadata
b) Media pool
d) Index
e) Timeline tab
4 How do you separate the viewer from the monitoring panel so that you can use it as
a floating window? Choose all that apply.
a) Double-click the viewer.
5 True or false? When zooming horizontally in the timeline with the Zoom slider or
shortcuts, the selected clips (or track) are always centered in the timeline.
6 What happens when you drag a two-channel stereo clip from the media pool to the
empty space in the timeline below the existing tracks?
a) The clip splits into left and right channels and appears in two new mono tracks.
c) Nothing happens because you can’t drag a clip to the empty space in the timeline
below the existing tracks.
7 Where can you change the volume level of individual timeline clips?
a) On the clip in the timeline
b) Mixer
c) Inspector
d) Preview player
e) Media pool
Lesson Review 55
Answers
1 a or d
2 False
3 b or c
4 d
5 False. Horizontal zooming centers on the playhead, while vertical zooming centers
the selected tracks.
6 b
7 a or c. You can change the volume level of individual timeline clips by using either
the gain line on the clip, or the Clip Volume slider in the Inspector.
Recording
Voiceover and ADR
NOTE The exercises in this lesson build from the tools and skills that you learned
in the previous lesson. If you skipped ahead to this lesson, you might need to look
back at the previous lesson as a guide for skills already covered.
MORE INFO For more specific information for compatible audio interfaces
including Fairlight, MIDI, and MADI interfaces, a Fairlight Accelerator card, or
additional monitors, please refer to the DaVinci Resolve 18 documentation.
3 In your computer’s preferences, configure your microphone (or the built-in mic) as the
audio input device.
Once the microphone is set up, you can use it in Resolve. Next, you’ll open the project that
you will use for the recording exercises.
3 Select R18 Fairlight Audio Guide Media > R18 Fairlight Part 3 > Hyperlight Audio Post.dra
and click Open. Then double-click the Hyperlight Audio Post project to open it.
The project opens in the Fairlight page with the 2 Recording VO Start timeline visible.
6 In the name field, type your initials after the project name.
7 Click Save.
8 In the Timeline View Options menu, select the Video Tracks icon from the Track Display
options, if necessary, to show the video tracks in the timeline.
As you can see in the video track, this timeline comprises numerous video clips since
they were originally edited together for this scene.
9 Show the media pool. In the media pool bin list, select Lesson Timelines > Lesson 02.
NOTE You can also access any of the lesson timelines for this book in the
Timelines smart bin at the bottom of the media pool bins list, if “Smart bin for
timelines” is enabled in User Settings or in the Timeline dropdown menu. To
see all the timelines in the Timeline dropdown menu, open the UI Settings
panel of the User tab in the DaVinci Resolve Preferences and choose the
Alphabetic option from the Timeline Sort Order dropdown menu.
Now that you’ve restored and saved the project and opened the reference timeline, let’s
take a few minutes to learn more about the voiceover part that you will record.
Hyperlight is a futuristic science-fiction short film that takes place in space. Two main
characters, Emiliana and Philip, accidentally cross a space–time threshold during
hyperspace travel and end up encountering themselves. Only one version of each person
can survive.
The voiceover you will record is that of the ship’s computer, ADA. Chances are, you’ve
seen a film or television show—such as 2001: A Space Odyssey or Star Trek—that features a
talking computer throughout the ship.
In this exercise, you’ll experience your own time travel as you play through several versions
of this scene to hear the original production sound, a voiceover test, and the voice used in
the final mix.
2 Move and resize the viewer to the empty space to the right of the timeline. Hide the
monitoring panel (meters).
This timeline includes an early version of the soundtrack from editorial along with the
final mix.
Track A1 contains the kind of sparse soundtrack that is provided by the Editing
department when a simple dialogue scene is picture locked. You’ll work with these
tracks shortly.
3 Solo track A1 and play the scene from the beginning. During playback, pay close
attention to the sound of the computer’s voice.
The A2 track contains the professional stereo mix for this section of the scene.
5 Play the scene and listen to the fully developed soundtrack, including the computer’s
voice. The computer dialogue is between the blue timeline markers, so feel free to just
play from marker to marker.
Now, let’s go back to an earlier version of this timeline and listen to the original
production dialogue recording with the scratch computer voiceover.
7 Resize and move the viewer to the lower center of the timeline below the timeline clips.
The timeline includes five audio tracks. All the dialogue is in the A1 track. The computer
voice clips are colored lime green.
Tracks A2 and A3 contain alternate versions of the computer voiceover and are
currently muted.
Tracks A4 and A5 contain drone sound effects that are used to temporarily fill the gaps
between dialogue lines instead of using ambient sound and temp music.
NOTE Because this is a simple dialogue scene of two people talking in a room,
it doesn’t require a lot of additional sound effects tracks to see if the edit and
performances are working. In many cases, the Editorial department can cut
and lock the picture with only one dialogue track and some temporary music
or ambient sound to fill the gaps. In this scene, the drone sound effects set
the mood well enough to pass it along to the Sound department for finishing.
Of course, you will transform the soundtrack in subsequent lessons. For now,
you’ll focus on re-recording the computer voice.
10 Play the first half of the scene from the blue marker and listen to the production
dialogue with the original scratch computer voice.
2 Press Command-= (equals sign) in macOS or Ctrl-= (equals sign) in Windows to zoom in
horizontally to the timeline clips.
The timeline zooms horizontally with the playhead in the center of the timeline. The
first five-lime green clips should now be easier to see and select.
3 Select the first lime-green colored clip in the A1 track and press D.
The clip turns gray to indicate that it is disabled. Let’s disable the rest of the
tracks at once.
4 Select the second lime-green clip, and then Command-click (macOS) or Ctrl-click
(Windows) the next three lime-green clips to select them all.
NOTE You might need to press D twice to disable newly selected clips.
1 Move the playhead to 01:00:22:00, which is right before Philip says, “ADA,” for the
first time.
2 In the transport controls, right-click the Stop button and choose Stop and Go To
Last Position.
3 Unmute the A2 track and start playback. Stop playback by pressing the Spacebar
just after ADA says, “Yes.”
When you stop playback, the playhead returns to the starting position (01:00:22:00).
What did you think of the computer voice this time? This version of the voice was
created by an actual computer reading the script lines. Now listen to the A3 track to
hear the final version of the voiceover. Of course, this final version includes some
reverb and other processing effects to make it sound more like a computer voice. You’ll
work more with those effects in a later lesson.
This time, the computer voice was obviously recorded by a human with more subtle
inflection and intuitive responses. Now that you’re familiar with the computer voiceover
part, you’re ready to set up your timeline for recording.
2 In the Master bin list, right-click the Master bin and choose New Bin.
The new bin appears in the bin list with the name field selected, ready for you to type
in a new name.
3 In the new bin’s name field, type Recordings and press Return/Enter.
4 Choose File > Project Settings or press Shift-9 to open the Project Settings window.
5 In the Project Settings sidebar, click Capture and Playback to show the Capture
and Playback panel.
6 At the top of the Capture settings, ensure that the Capture dropdown menu is set for
“Video and audio.” If necessary, change the Capture dropdown menu from Video to
Video and audio.
7 Below the Capture dropdown menu, find the “Save clips to” field.
This location is where newly recorded files will be stored. The default capture location
is the Users Movies > Capture folder. For the purposes of this project, though, you can
keep the current settings.
If you want to save the recording to a different location, click Browse and choose that
new location now. Keep in mind that the new location will apply to all newly captured
video and audio media.
TIP It’s always a good idea to check the capture location before recording
audio or capturing video files. Also, if you share a workstation and change the
capture location, be sure to either change it back or coordinate with the other
users so that you can all keep track of your media as you go.
1 In the Project Settings sidebar, click Fairlight to see the Fairlight settings.
2 In the Audio Metering settings, click the “Pre fader metering on tracks” option to select
it, if necessary.
The “Pre fader metering on tracks” option controls whether the position of the faders
affects the meters in the mixer. By default, the “Pre fader metering on tracks” option
is unchecked so the meters display the level of each clip’s signal after whatever fader
adjustments have taken place. This is often referred to as post-fader metering because
the meters in the mixer show the post-fader results of all signal processing and level
changes applied to the clips and track. In this mode, whatever change you apply to a
fader is reflected in the meters. Selecting the “Pre fader metering on tracks” option, on
the other hand, shows the actual levels of each clip in the track, regardless of the fader
position. This includes the track source signal if you’re recording or routing signal from
another track or bus. This is an important distinction because when you are recording,
you usually want to see the levels coming in from your source. Otherwise, a signal could
be too hot (loud), and you might not realize it because the faders have been lowered.
Next, you’ll locate the text script for the scratch voiceover recording.
There are many options for creating a new timeline, including using the File menu, right-
click contextual menu, and keyboard shortcut. In this exercise, you’ll use the right-click
option to create the timeline. First, let’s go to the media pool to locate the text clip that will
serve as the voiceover script, and then create a new timeline for recording.
1 In the media pool bin list, click the disclosure arrow to the left of the Hyperlight Audio
Post bin, if necessary, to see its contents, including the Title for Prompt bin.
4 Click Title for Prompt in the list and right-click the title clip ADA VO Script and choose >
Create New Timeline Using Selected Clips from the contextual menu.
The new ADA Scratch VO timeline opens with three tracks showing, including the Text
clip in the V1 track, an empty A1 stereo track, and a B1 stereo bus track.
TIP You can change the track type for new timelines in the Editing panel of the
User Preferences. The default track type for new timelines is stereo.
To simplify the timeline for recording, let’s turn off the automation controls to hide the
bus track.
7 Click the Toggle Automation button, to the right of the transport controls, to turn off
automation and hide bus tracks in the timeline.
A1 is now the only audio track showing in the timeline. Before you can record to a
track, you must first set the input. This is referred to as patching a track.
For this exercise, you’ll change the A1 track format from Stereo to Mono. Then, you’ll use
the Input settings in the mixer to patch the microphone to the mono track. To see the
current number of channels in a track, you might need to increase the track height.
1 Drag the bottom of the A1 track header downward to increase the height of the track
until you see the text No Clip in the lower left and the 2.0 channel indicator in the
upper right.
The 2.0 channel indicator on the A1 track header shows that the empty track is stereo
with two channels, left and right. You can change a track’s channel format at any time
via the right-click contextual menu.
2 Right-click the A1 track header area and choose Change Track Type To > Mono.
NOTE You’ll work more with channel mapping for clips and tracks in Lesson 4,
“Preparing Multichannel Clips for Dialogue Editing.”
Input settings are displayed at the top of each channel strip just below the track
number assignment. Tracks without an assigned input will display No Input.
5 At the top of the A1 channel strip, in the Input pop-up menu, choose Input.
The Patch Input/Output window opens. This window displays the source inputs to the
left and the destination tracks to the right.
The Patch Input/Output window and the A1 channel strip in the mixer update to show
that the microphone channel you selected is patched to the A1 track.
Your track is created and patched, so now you can arm it for recording. The Arm
button, labeled “R” for Arm for Record, is available in both the track header and the
track’s channel strip in the mixer.
NOTE If your hardware supports multitrack recording, you can patch and arm
multiple tracks accordingly.
Now that the track is patched and armed, it’s a good idea to take a moment to check
your monitoring style.
The Input style lets you hear only the live signal on input, whereas the Record style limits
you to monitoring the input signal to active recording when the Record button is on. The
Repro style monitors only the audio already recorded to the track; instead of hearing the
live input, you can review what was just recorded during recording.
As you might have guessed, when you choose the Mute style, you’ll hear nothing. If you
think you’d never need to use the Mute style, imagine trying to record a scratch voiceover
in the same room as the speakers/monitors but without using headphones.
Fortunately, the default input monitoring style, Auto, is perfect for this recording exercise
because it lets you hear the live input signal from armed tracks during recording, as well
as the contents of each track during playback.
TIP If the microphone and monitoring speakers are in the same room, you’ll
need to use headphones to monitor your input during recording. If you don’t
have headphones available, you can mute playback during recording or use the
Mute input monitoring style.
Finally, if you’re using an external microphone and audio input/output interface, you
might need to increase the microphone input level. You can do so in the Path Settings
window in the Input pop-up menu.
3 In the mixer, in the A1 channel strip’s Input pop-up menu, choose Path Settings.
The Path Settings window opens with standard controls for adjusting the input level
of audio signals for each track. Here, you can use the Mic/Instr control to adjust the
Mic/Instrument level for the source patched to the A1 track.
4 If your microphone input level is low and you’re using an external microphone and
audio interface, you can increase the Record Level.
MORE INFO You can find detailed information about all the Input Monitoring
styles and Path Settings controls in the DaVinci Resolve 18 Reference Manual,
available in the Help menu.
7 Move the playhead over the beginning of the text clip in the V1 Video 1 track so you
can read the text in the viewer.
1 If necessary, in the media pool, select the Recordings bin to designate it as the storage
location for your new recordings.
For the purposes of this voiceover recording session, you’ll need to read through the
lines sequentially, one after another. You’ll separate the different lines and move them
into position in the next lesson. Keep in mind that the final voiceover line comes at the
end of the scene.
TIP You can edit the text clip right in the Fairlight page Inspector. Just select
the clip in the timeline and use the Title controls in the Video panel.
You’ll find the Record button in the transport controls at the top of the screen.
When the playhead starts moving and drawing a red region within the armed track,
you are recording.
TIP You can assign a keyboard shortcut for the Record button in the Keyboard
Customization window.
The new audio clip appears in the A1 Scratch VO track and in the Recordings bin as
a .wav file. Notice that the clip name starts with the track name Scratch VO followed
by the take number 001. Also, the playhead automatically returns to the starting
position because you have the Stop and Go To Last Position option selected in the
transport controls.
Don’t worry if your recording was rough. The purpose of this lesson is to give you the
skills to record audio in the Fairlight page, not perfect your talent as a voiceover artist.
That being said, if you work in corporate or commercial video, you know that recording
scratch (rough) voiceover and narration tracks is all part of the job.
Let’s record another take over the first one. Doing so will not overwrite the first
recording; instead, the new take will be saved as a separate layer in the same track.
To keep track of your takes, let’s color code them as you go.
8 Record another take. When you’re finished, stop playback, and change the color of the
second take to orange. Listen to the second recorded take.
If your second take is shorter than the first, you’ll see where the second recording
overlaps the first take in the track.
Now that you’ve recorded several full takes, you can try recording a partial take of just
the fifth phrase, “I cannot explain this discrepancy.”
9 In the Playback menu, choose Stop and Go To Last Position to turn off the
playback mode.
10 Press the JKL keys, using the waveform as a guide, to move the playhead to the
beginning of the fifth phrase.
This time, when you record the third take, vary the line slightly so the computer says
“can’t” instead of “cannot.”
13 Disarm the A1 track. Notice that the A1 track header shows that it contains three clips.
Now that you’ve recorded several takes in the same track, let’s show the audio track
layers so you can see all your takes at once.
NOTE If you want to assign different names to recordings, other than the track
name, you can right-click the track header and choose Set Track Record Name.
NOTE If you didn’t record any takes, feel free to open the 2a Recording VO
Finished timeline and follow along.
1 Hide the media pool and Index. Move the viewer lower in the timeline, if needed, for
more room to see the A1 track.
Each clip has its own layer, and an empty, clip-sized space appears in the track above
the clips. The height of each clip and layer is based on the track height and the number
of clips in the track.
When starting playback, only the uppermost clip exposed to the playhead is played.
At the moment, you hear only take 2 (orange) and take 3 (apricot).
4 Choose View > Show Audio Track Layers to deselect that option.
You have successfully set up, patched, armed, and recorded a scratch voiceover
track in the Fairlight timeline. In the next lesson, you’ll further explore the power
of the audio track layers to select, play, and edit takes, as well as create crossfades
within a track.
NOTE Although most of the lessons in this book follow a real-world workflow,
the following set of ADR exercises is slightly out of order. Dialogue replacement
usually happens at the end of the dialogue editing process, which you’ll encounter
in Lesson 5. However, because this lesson is dedicated to recording, it makes sense
to demonstrate recording dialogue replacement in this context.
This is a longer version of the scene you worked with in the previous lesson. As you
can see, each character’s dialogue clips have been separated to different tracks.
This is part of the dialogue editing process. Also, the A1 ADR track was created for
the replacement dialogue recordings.
Now that you’ve listened to the scene, let’s locate the dialogue lines that you will
replace. They are identified with markers.
3 Press Shift-Down Arrow to move the playhead to the first pink marker. Then, zoom in
horizontally so the pairs of pink and yellow timeline markers are near the center of the
ruler and the clips in that section are easy to see.
In a few minutes, you will record replacement dialogue for either Emiliana’s line,
“Identify the person on the medlab,” or Philip’s line, “ADA, how is that possible?” Let’s
play them once and then go to the ADR tools to set up your recording session.
4 Play the timeline from the first pink marker to the last yellow marker.
The ADR Setup panel is self-explanatory, so let’s just walk through the setup for this
session, starting at the top with the Record and Playback Setup controls.
The Pre Roll and Post Roll controls let you determine how much time you have before
and after a cue is recorded. Think of pre roll as allowing time for a count-in before
recording begins.
Notice that the Record Source menu is empty. To choose a source, you first need to
choose the Record Track.
7 Choose Record Track > ADR. Then, in the Record Source dropdown menu, choose
your microphone.
The Guide Track is the track with the original dialogue that you will listen to as you
record the replacement. The A1 ADR track is automatically enabled for recording as
indicated by the red (R) Record Enable button.
NOTE Now that the A1 ADR track is armed, you might need to mute the track
to prevent feedback until you’re ready to record.
Next, let’s move down to the Character Setup area in the center of the ADR Setup
panel and add a new character.
10 Click the Add New button. In the selected character Name field, type PHILIP. When
you’re finished, press Return/Enter.
11 Click the switch to the left of the following controls to turn them on: Beep to In Point,
Beep at In Point, Count In, Video Streamer, and Smart Timeline, as shown.
12 Double-click setting titles for the Beep to In Point and Beep at In Point settings to show
the controls for those settings.
These Beep settings offer two types of audio cues to help the talent prepare to record
their replacement dialogue lines. If you look closely at the settings for each, you’ll see
that the Beep to In Point is set to emit a 15 dB, 1000 Hz beep three times before the In
Point for the recorded ADR Cue, while the Beep at In Point will emit a single 2000 Hz
To utilize the Beep audible cues, you first need to create a track and assign the input
to the Beeps in the built-in Oscillator available via the Test Tones Settings in the
Patch Input/Output window and Fairlight menu. You’ll work more with the Test Tones
Settings later in this lesson. For this exercise, the Test Tones Settings Beeps have
already been assigned to the A9 ADR BEEP track in the timeline.
13 Double-click the Count-In header to reveal the Count-In settings. Then, change the
Count From field to 5. Leave the “to” field set to 0 (zero).
14 Double-click the On Screen Cue Text Style header to reveal the settings.
Here you can change the Font, Size, and other style elements for the onscreen
text cues.
To see a live text preview while you adjust the text controls, you can enable the Preview
button. Let’s try it.
15 Click the Preview button in the lower-left corner of the On Screen Text Style controls to
enable preview.
18 Feel free to experiment with other text style changes. When you’re finished, reset the
Size to 50 if necessary and turn off the Preview button.
The ADR session is set up. Next, you’ll set up the cues in the List panel.
NOTE You can go back to the ADR Setup panel at any time to modify your
settings while you work.
2 Move the playhead to the first pink marker. Press I to set an In point.
3 Press Shift-Down Arrow to move the playhead to the second pink marker. Press O to
set an Out point.
Cue 1 appears in the list. When a cue is selected in this list, you can modify its information
in the cue editing controls above the list. Let’s set the character for the selected cue.
5 Select the cue in the list, if necessary. Then, in the cue editing controls, in the
Character dropdown menu, choose EMILIANA.
The text appears in the dialogue field in the cue list as you type. Now that you have
created one cue, you’re ready to create the next one.
7 In the timeline, use the yellow markers as a guide to mark the In and Out points for the
second cue. You do not need to clear the current In and Out points before marking
new ones.
8 Click New Cue to create Cue 2. Change the character to Philip. Finally, type the dialogue,
ADA, how is that possible?
9 Show the media pool and select the Recordings bin. Then, reopen the ADR panel.
10 Choose Mark > Clear In and Out or press Option-X (macOS) or Alt-X (Windows) to clear
the In and Out points.
2 In the Record panel cue list, select one of the two cues to record.
Notice that the playhead moves to the In point of the selected cue.
3 On the A1 ADR track, if necessary, click the Arm button to enable the track for
recording. Unmute the track if you muted it earlier.
You will hear the audible cues in your headphones and see the visual cues in the
viewer during the rehearsal.
Chances are that your first rehearsal was a little rough. No worries, you can rehearse
again. Just remember, when recording replacement dialogue in sync with the picture,
you will need patience and many takes to get it right.
6 Rehearse the cue again, or as many times as you need. Don’t worry about getting it
perfect. When you’re ready to record, move on to the next step.
A newly recorded region, which is the exact length as your cued In and Out points,
appears in the A1 ADR track.
8 In the Record panel, click the Play button to audition the recorded cue.
9 Rate your performance by clicking the stars to the right of the take in the list.
The takes are recorded in different layers in the same track and listed in the Record
panel. You can play back any of the takes by selecting the take in the list and clicking
the Play button on the ADR Record panel.
NOTE The take list will remain active during the current recording session.
Once you close the project, the take list will clear automatically. However, all the
takes will remain in the timeline.
NOTE If you look carefully at the names of the recordings in the list, you’ll see
that they include ADR Scene 7 (the Record File Name that you typed earlier in
the ADR Setup panel) and the take number.
To see the clips for all the takes in your timeline, you need to show the audio
track layers.
11 Choose View > Show Audio Track Layers. Adjust the track zoom as necessary to clearly
see the multiple takes in the A1 track.
13 When you’re finished, select the box in the far-right column to mark the cue as done.
Then, deselect the Arm button on the A1 track.
NOTE If you enjoyed recording ADR and want another go at it, feel free to
practice by recording the other cue or additional takes.
You’ll find the options to import and export cue lists in the ADR panel Options menu
(three dots) located in the upper-right corner of the ADR panel.
The .csv list opens into the ADR Setup window. Here, you can verify that the columns
are in the correct order for ADR recording: Cue ID, In Point, Out Point, Character,
Dialog, and Done.
4 Click Clear or press Esc to close the ADR Setup panel without importing the list.
5 In the ADR List panel, select Cue 1 and change the Cue ID to 9.
Now that the cue ID’s match the incoming list, you can merge the cues.
7 In the ADR panel Options menu, choose Import Cue List. Navigate to R18 Fairlight
Part 2 > Fairlight additional media > Hyperlight Scene 7 ADR cues.csv.
NOTE If the column contents do not match the column header in the ADR
Setup dialog, you can use the menu at the top of the column to choose the
correct header. There are also new columns for Cue ID, Done, and Ignore.
The ADR cue list is populated with a full set of ADR cues for the entire scene. You can
create, edit, and export CSV files in most spreadsheet programs.
1 In the upper-right corner of the ADR panel, click the Cue Sort menu icon to show the
dropdown menu.
Here you will see the option to Show All Characters, a list of characters, and the option
to Hide Cues Marked as Done.
3 In the Cue Sort menu, click EMILIANA to deselect her cues and hide them from the list.
The list has narrowed to show only Philip’s cues in the list. You can use the Cue Sort
menu to show or hide cues anytime.
At the top of the A9 channel strip in the mixer, you can see that the Input is Beeps.
The Beeps input source comes from the built-in System Generator. You’ll patch and
record sounds from the System Generator in the next exercise.
NOTE Patched tracks can be set to either Record (Rec) or Through (Thru). If a
track is set to Thru mode, it has an open input that can be triggered by talkback
or, in this case, the ADR Beeps.
For future ADR timelines that you create in your own projects, be sure to create a track for
the Beeps and patch it to the System Generator Beeps.
TIP You can save global track settings for tracks, such as the ADR Beeps track, in
the Preset Library via the Fairlight menu. Once saved as a preset, you can easily
apply the global track preset to a track in another timeline or project to instantly
turn it into an ADR Beeps track.
1 Show the media pool, and create a new bin named My Timelines.
This bin is where you can save any new timelines that you create while working
through the various exercises.
3 In the Create New Timeline dialog, in the Timeline Name field, type Sound Design FX.
Leave the default settings as they are, and click Create.
4 Name the A1 track GEN FX. Also, toggle automation off so you don’t see the bus tracks
in the timeline.
Now that the timeline is created, let’s take a moment to select the Recordings bin in
the media pool. Keep in mind that if you ever forget to select a specific bin for your
recordings and no bin is selected, they will appear in the selected bin or under the
Master bin. You can move them to another bin after you’ve finished recording.
You can use the Patch Input/Output window to patch the built-in System Generator to
the track just as you would a microphone or other external audio device. Previously,
you opened the Patch Input/Output panel from the mixer. This time, you’ll do so within
the Fairlight page.
The Source Audio Inputs menu offers numerous options from which to choose, so you
might need to scroll down in the Audio Inputs menu to find the System Generator.
The System Generator can generate three types of sound that you can patch and
record. Let’s start with the Noise generator.
WARNING! Do not arm the A1 track yet. You just patched a noise generator to
the track, so if you armed the track, you would immediately hear it just as though
it were a live microphone. Let’s first take a moment to find and use the master
playback volume controls.
1 Click the DIM button to instantly lower the playback volume by 15 dB.
The playback volume fader turns yellow to indicate that the DIM button is on.
As promised, you can really hear that noise generator through your headphones
or speakers, even with the playback dimmed by 15 dB. So, how loud is the System
Generator source? The System Generator generates sound at -15 dB. This is also the
dialogue target level when you start editing dialogue and mixing.
You can combine the playback controls to go from DIM to mute and back whenever
necessary.
1 Choose Fairlight > Test Tone Settings to open the Test Tone Settings window.
2 Unmute the playback volume controls. Leave the DIM button turned on.
Feel free to mute the playback volume at any time, and vice versa.
In the Noise controls (located in the middle of the Test Tones Settings window), you
can change the noise type from White to Pink.
NOTE Both white and pink noise include all the frequencies that the human
ear can hear. The difference is that white noise has equal energy per frequency,
similar to white light that contains all the wavelengths of the visible spectrum
at equal intensity. Pink noise is filtered white noise that has equal energy per
octave. With pink noise, the intensity decreases as the frequency increases,
which is how humans perceive sound; therefore, it’s easier on the ears.
Now let’s record a tone that you can control using the oscillator. To do so, you’ll need
to change the patch input setting. This time, let’s open the Patch Input/Output window
right from the Test Tones Settings window.
5 Click the Options menu (...) in the Test Tones Settings window and choose > Patch
Input/Output.
6 In the Patch Input/Output window, click Noise in the Source controls, and then click the
Un-Patch button to unpatch the Noise generator.
NOTE When you unpatch a track in the Patch Input/Output window, the
corresponding track is automatically disarmed. Likewise, whenever you open
the Patch Input/Output window, you must first select the source or destination
before the option to Patch or Unpatch is available at the bottom of the window.
The default oscillator tone should sound familiar. It is the 1-kHz tone used for 2-pops
and for setting up audio monitor levels.
9 In the Oscillator Settings, drag the Frequency knob to the left to lower the frequency,
and drag to the right to raise the frequency.
10 Click the buttons to the right of the Frequency knob to switch the Oscillator to that
frequency preset.
TIP You can double-click the knobs in the Test Tones Settings to reset them to
the default settings.
12 Press Shift-9 to open the Project Settings window. Then, in the Fairlight settings,
uncheck the “Pre fader metering on tracks” option.
Although you might not need to record an oscillator sound every day, it’s useful to know
where it is and how to record it for your projects.
You have successfully executed three different types of recording in the Fairlight page.
In the next lesson, you’ll work with audio track layers.
Record approximately 10 seconds of each of the following oscillator sounds. Leave at least
1 second between recordings in the track.
— 100 Hz
— 200 Hz
— 440 Hz
— 1000 Hz (or 1 kHz)
— 2000 Hz (or 2 kHz)
— Ascending frequencies from 20 Hz to 10 kHz (by dragging the knob while recording)
— Descending frequencies from 10 kHz to 20 Hz
— White noise
When you’re finished, disarm the track, close the Oscillator Settings window, turn off
the DIM button, and save your project.
NOTE If you’d like to see a finished version of the recorded frequencies, open the
timeline 2e Sound Design FX Recorded.
a) Patch the audio source to the track and select the track.
c) Patch the audio source to the track and arm the track.
d) Select the track and click the Record button in the track header or mixer.
2 What keyboard shortcut can you use to disable or enable a selected clip in
the timeline?
a) Shift-R
b) Shift-D
c) E
d) D
e) Shift-D
3 What happens to a recorded clip in the timeline when you record another take in the
same track?
a) The new take overwrites the previous take.
c) The new take is recorded in an audio track layer above the previous take.
d) The new take is recorded in an audio track layer below the previous take.
e) The new take temporarily replaces the previous take, but all takes can be recovered
by choosing the Restore Takes option in the right-click menu.
6 Identify the two types of noise available in the Test Tones Settings window?
(Select two.)
a) White noise
b) Brown noise
c) Pink noise
d) Noise print
e) Ambient noise
7 What file format can you use to import and set up an ADR Cue list?
a) .TXT
b) .XML
c) .CSV
d) .CUE
8 What creates the beeps, noise, and tones that you can generate on the Fairlight page?
a) Velociraptor
b) Noiseinator
c) Noise FX plug-in
d) Oscillator
e) Beep generator
2 d
3 c
4 b
5 False. To record beeps, noise, and tones, you must first patch the Test Tone Settings as
the audio source in the Patch Input/Output window. The Test Tones Settings window is
in the Fairlight menu.
6 a and c
7 c
8 d
Working with
Audio Track Layers
Let’s duplicate the timeline to create a version you can use for this lesson.
4 In the Lesson Timelines bin, select the 2a Recording VO Finished timeline, and choose
Edit > Duplicate Timeline or right-click the timeline and choose Duplicate Timeline.
The duplicate timeline is directly below the original in the Lesson Timelines bin.
Now, you can give it a new name.
5 Double-click the duplicate timeline’s name (2a Recording VO Finished copy) and type
3 Audio Layers Editing. Press Return/Enter.
NOTE Another method for duplicating timelines is to use Copy and Paste
available in the Edit menu or by using standard keyboard shortcuts.
6 Drag the 3 Audio Layers Editing timeline from the Lesson 02 bin to the Lesson 03 bin.
Then, select the Lesson 03 bin to see the timelines for this lesson, including the one
you just added to the bin.
Excellent. The timeline is duplicated and moved to the correct lesson bin. Next, let’s
open the timeline and disable the text clip in the Video 1 track.
7 Double-click the 3 Audio Layers Editing timeline’s icon in the media pool to open
the timeline.
8 If necessary, show the Video Tracks. In the V1 track, select the beige text clip and press
D to disable it. Hide the video tracks again.
The clip looks the same in the timeline, so you’ll need to use the viewer as a guide to
see when the text clip has been disabled.
The timeline is open and ready for action. Before you dive into the audio track layers, this
is a good time to streamline the interface for editing.
Next, let’s move the playhead to the middle of the voiceover recording, and zoom in
horizontally several times. Remember that zooming with the View menu or keyboard
shortcuts centers the playhead and zooms horizontally from that position.
2 In the timeline, move the playhead over the second clip. Choose View > Zoom > Zoom
In or press the Zoom In keyboard shortcut several times to make the clips in the A1
track wider and easier to work with.
You can use the Vertical zoom slider to change track height or resize tracks individually
right in the track’s header.
3 Position the mouse pointer over the bottom of the A1 track header and wait until it
becomes a resize arrow. Drag down on the A1 track header to enlarge the A1 track. You
can make the track’s height as tall as you’d like within the timeline window.
4 Choose View > Show Audio Track Layers to see the layers within the A1 track.
Now, you can clearly see the audio track layers to edit the multiple voiceover takes.
NOTE If for any reason the layered clip colors do not match the image shown, feel
free to right-click the clips in each layer and choose a new color.
1 In the A1 Scratch VO track, drag the yellow clip in the lowest layer upward to the empty
space at the top of the track.
3 Continue playback and drag the lowest clip (orange) to the top position.
4 Continue playback and drag the short clip in the lowest position (apricot) to the top
position. Stop playback.
You’ll see the four Navigation Options depicted as icons from left to right,
including Clip, Fade, Marker, and Transient. The default settings have the first three
options enabled.
2 Deselect the Fade and Marker Navigation options and select the Jump to Clip option,
if necessary.
3 Click anywhere in the timeline to hide the Timeline View Options menu.
Now that you know how to set up the new Jump to navigation options, you can enable or
disable them as needed while you work.
In video editing, you use a Blade tool or a Razor keyboard shortcut to place an edit within
a clip. The resulting edit is referred to as a through edit. Because through edits do not lose
frames at the edit point, the video will play straight through as if no edit existed.
When working with audio tracks, the same type of edit is referred to as a split because
you split a single audio clip into multiple audio clips. The more you split the original audio
clip, the more separate audio clips you’ll have with which to create your finished audio
composition, or comp.
Through edit
Split
In this exercise, you’ll align the stacked clips and, with one operation, split all the voiceover
clips between phrases.
If you compare the waveforms between the voiceover clips in track A1, you’ll see repeated
patterns in each track, separated by silence (no waveform). Each waveform pattern
indicates words or phrases. Although the waveforms don’t indicate which words they
represent, you can definitely see where and when the spoken phrases start and stop.
Rather than drag the clip into position, this is a great opportunity to use the Nudge
commands available via keyboard shortcuts and in the Trim menu. Unlike manually
dragging, the Nudge commands allow you to precisely move a selected clip one frame
at a time to the left or right by pressing the , (comma) and . (period) keys for single-
frame movement, or the Shift-, (comma) or Shift-. (period) key combinations to nudge
multiple frames.
Let’s use the playhead as a guide to mark the beginning of the first phrase in the
yellow clip and then nudge the orange clip into position.
1 In the first layer in the A1 track, move the playhead to the beginning of the yellow
clip’s waveform.
The selected clip moves five frames to the right but still needs to move another
15 frames or so.
3 Press Shift-. (period) three more times to move the clip 15 frames to the right. Then,
using the , (comma) and . (period) keys, nudge the clip one frame left or right to line up
the beginnings of the waveforms.
Remember, the goal in this exercise is to align the different takes for each phrase,
and split them into a layered stack. Then, you’ll be able to choose the best take for
each line of voiceover and move them into position.
Now you can split the clips at the end of the first phrase. To do so, you will move the
playhead to the space after the first phrase, select the clips, and split them using the
Razor tool.
4 Press the JKL keys to play the clips from the beginning, and stop playback after the
phrase, “Emiliana Newton,” at around 01:00:03:05.
6 Click the Razor button or Press Command-B (macOS) or Ctrl-B (Windows) to razor cut
the selected clips at the playhead position.
7 Press the JKL keys to play forward to the end of the next line of dialogue, “Yes.”
8 In the lowest layer, select the yellow clip and nudge it to the right until the second
phrase is roughly aligned with the orange clip. The alignment of each phrase doesn’t
have to be perfect. If they are close, you’ll still be able to split them into stacks.
The results are the same regardless of the shortcut, razor or split, that you use. From
this point, you can choose whichever method you prefer when splitting audio clips in
the timeline.
TIP If you are simultaneously splitting all the audio clips beneath the playhead,
you can press Command-A (macOS) or Ctrl-A (Windows) to select all the clips on
all the tracks. Doing so will select and split only those clips currently visible in the
timeline. Tracks with their visibility turned off in the index will not be affected.
The waveforms line up fairly well for the next three phrases, and then they drift out of
alignment for the last phrase. The drift is due to slight timing differences in the voiceover
performance in each take.
In Range mode, you can quickly separate the remaining phrases and align them before
selecting the best takes.
You’ve already split the clips at the beginning of the third phrase, “Philip Maeda,” so
you needn’t select that phrase. Instead, you’ll use the Range Selection tool to select
the fourth phrase, which also happens to be “Philip Maeda.” After you drag a selection
using the Range Selection tool, you can drag or nudge that selection to a new location.
For the first example, you will drag the selection down slightly to jiggle it into place,
which will also split all clips within the selection at the range In and Out points.
2 Drag the Range Selection tool from just above the orange clip at the beginning of the
fourth phrase to below the yellow clip just after the fourth phrase. Make sure that the
range selection includes the entire phrase on both clips. Then drag down slightly on
the lowest clip in the selection to split the clips at the range In and Out points.
NOTE If any of your clips moved to different layers, it was because they
were overlapping other clips in the same layer. If that occurs, you can press
Command-Z (macOS) or Ctrl-Z (Windows) to undo the move. The clips will
remain split even after you undo the previous move. If you repeat the undo
shortcut, you will undo the split.
4 Drag a range selection around the last phrase in the orange and yellow clips when
ADA says, “Earth date is March 22, 2103.” Then, press . (period) to nudge the selection
one frame to the right to create the split.
6 Trim the tail of the last yellow clip so it matches the length of the last orange clip.
7 Trim the head of the first yellow clip to match the length of the first orange clip.
Deselect all the clips.
The clips are split and stacked and ready to swap between layers to piece together a
composite voiceover track.
Instead of building the composite voiceover in this timeline, let’s build it in the primary
timeline for the scene so you can make choices in context with the other dialogue clips and
action onscreen. To move these clips to another timeline you could either copy and paste
the clips or drag one timeline into the other as a nested timeline. For this exercise, let’s try
the second option.
Nested audio timelines look and play back just like a clip. The difference is that nested
timelines can be opened and edited, and the results update in the nested version.
Additionally, you can decompose the nested timeline to add tracks and clips as well as
preserve all the bussing, processing effects, and mixing from the nested timeline. You’ll
work more with nested timelines during the mixing lessons later in this book.
In this exercise, you will add the 3 Audio Layers Editing timeline to an empty track in the 3a
Scene for Comp timeline, play the nested timeline, open the nested timeline, edit one of
the clips, and then decompose the nested timeline in place to instantly add all the clips and
layers to the primary timeline.
First, it’s a good idea to rename the 3 Audio Layers Editing timeline based on the contents.
NOTE If you did not complete the previous exercises for the 3 Audio Layers Editing
timeline, feel free to use the timeline 3d VO Backup for Comp to catch up.
1 Hide the audio track layers, If necessary. (Deselect Show Audio Track Layers in the
View menu.)
2 In the media pool, change the name of the 3 Audio Layers Editing timeline
to 3 ADA VO.
This timeline contains six audio tracks including the original production dialogue in the
A1 track and an empty A2 Scratch VO track for the nested timeline.
4 Drag the 3 ADA VO timeline from the media pool to the A2 track.
5 In the A2 track, drag the nested 3 ADA VO_1 toward the right until it is beneath the
disabled clips and yellow markers.
6 Solo the A2 track and play some of the 3 ADA VO clip to hear the contents. When you’re
finished, unsolo the track.
Next, let’s open the 3 ADA VO timeline and edit one of the clips.
7 In the A2 track, right-click the 3 ADA VO clip and choose Find in Media Pool.
The 3 ADA VO timeline is selected in the media pool.
9 Expand the A1 track height and select Show Audio Track Layers.
Déjà vu, right? Now let’s trim the second orange clip.
10 Trim the beginning of the second orange clip to match the beginning of the yellow clip
beneath it.
NOTE While trimming clips within audio track layers, the clip you’re working
with always appears in the empty space above the layers to accommodate
your edits.
1 Right-click the 3 ADA VO clip and choose > Decompose in Place > Preserving
Audio Data.
The Decompose Preserving Audio Data dialog offers three routing options: New
Matching Busses, “Preserve existing paths,” and “Leave unassigned.” These choices
affect how the tracks and busses in the nested timeline are routed to busses in the
master timeline. The New Matching Busses option creates new busses for each bus
that was in the nested timeline. “Preserve existing paths” will route tracks to existing
busses in the master timeline that have the same name and channel format and only
make new busses if they don’t match busses in the master timeline. The last option,
“Leave unassigned,” does exactly what it says and doesn’t route any of the incoming
tracks or busses. Don’t worry if this seems confusing, you’ll work more extensively with
busses in a later lesson.
For this exercise, both timelines contain only one output bus (Bus 1), so you’ll use the
second option to “Preserve existing paths” and seamlessly route the tracks from the
nested Bus 1 to the Bus 1 in the master timeline.
3 Click Decompose.
Voila! Just like that, the edited voiceover takes from the nested timeline are in the A2
Scratch VO track and ready to build a comp. Next!
Building a Voiceover
Composite Track
By definition, a composite is made up of several parts, or elements. Composite images
comprise multiple visual layers. Composite audio tracks refer to audio tracks containing
the best takes that have been edited together seamlessly, as in the case of this finished
ADA voiceover track.
In this exercise, you’ll finish building the voiceover composite by moving the clips into
position in the timeline, selecting the best take for each section, and moving it to the
Let’s turn off the visibility for the other audio tracks except for A1 and A2.
3 In the index Tracklist, turn off visibility (eye icon) for tracks A3, A4, A5, and A6. When
you’re finished, only the A1 DIALOG and A2 Scratch VO audio tracks should be visible in
the timeline.
5 Press Shift-Z to zoom the timeline horizontally to fit all the timeline clips onscreen,
including the clips on hidden tracks.
You should see six yellow markers in the timeline. Each of these represents the
starting position of a corresponding voiceover clip. To keep things simple, you’ll work
from right to left, moving the last phrase to the corresponding marker, and so on.
You’ll want to make sure the snapping control is turned on so that the clips you move
will snap to the marker’s position. When snapping is turned on, the playhead, markers,
and clips snap into alignment as you drag them toward each other. In this case, the
head of the clip you are dragging will snap to the closest marker as you drag. Press N
to toggle snapping on and off.
6 In the toolbar, make sure that the Snapping button (which looks like a magnet) is
turned on (white).
7 Using the Selection tool (arrow), drag a selection around the last stack of voiceover
clips to select them. Then, drag the clips to the right to the last yellow marker.
TIP Dragging audio clips from the area below the waveform and volume line
avoids accidentally changing the clip’s volume levels as you drag.
8 Choose View > Show Audio Track Layers to hide the layers within the A2 track.
9 Click the empty track space to the right of the apricot colored clip, and then drag over
the apricot clip to select all three clips within that stack.
10 Release the mouse. Then drag the selected stack of clips to the fifth yellow marker.
12 Repeat step 5. As you move the clips to the markers, feel free to either drag them or
use the nudge keyboard shortcuts. When you’re finished, deselect all clips.
Next, you’ll choose the best take in the context of the other tracks.
14 Show audio track layers. Resize track height as needed to be able to select or move
each clip in the A2 track.
15 Show the viewer. Resize and place the viewer in the lower-left corner of the timeline
window so it doesn’t cover any of the clips in the A6 track.
The clips line up fairly well with the production dialogue track. However, the first line,
“Emiliana Newton,” seems to start a little late. Instead of aligning the beginning of the
clips with the yellow marker, you need to align the beginning of the waveforms.
18 Select the first two voiceover clips. Nudge the clips to the left until the waveform starts
at the playhead position (first yellow marker).
Now that you have heard the first five voiceover clips in context, and the first stack is in
position, you can focus on the takes one at a time and move the best take in each stack to
the uppermost track layer. To simplify this process, you’ll use the looped playback feature.
NOTE If you didn’t follow all the previous exercises, feel free to open the timeline
3a Audio Layers Comp Finished to catch up.
1 Press the JKL keys to move the playhead just before Phillip asks his first question,
“Identify the person in front of me” (1:00:24:21). Press I to mark an In point.
2 Use JKL to play through the timeline until after the second stack of clips when ADA says
“Yes.” Press O to mark an Out point (01:00:31:00).
4 Choose Playback > Play Around/To > Play In to Out or press Option-/ (slash) in macOS
or Alt-/ (slash) in Windows to start looped playback between the In and Out points.
Keep in mind that you can later adjust the volume levels of the clips and apply effects
to make the voiceover track sound more like a computer. For now, just go with your gut
and your ears and choose a best take for the first two voiceover sections. Don’t worry
if you can’t decide; the other take will still be there in the lower layer, so you can always
change your mind later.
TIP Holding Shift while dragging clips up and down between layers constrains
the vertical alignment. This is helpful when you are quickly auditioning different
takes because you don’t have to worry about accidentally moving the clips out
of sync horizontally.
5 During looped playback, listen to the takes in the uppermost clip (orange) and drag
the lower clips up one at a time (yellow) to audition each of them in context. Continue
moving between the clips until you choose a best take.
You can also set In and Out points in the timeline using the Range tool.
7 Start looped playback and use the Selection tool (press A) to swap the positions of the
takes during playback. When you’ve identified the best take, place it in the uppermost
layer. Nudge the position of the clips, as necessary, to best fit the production dialogue.
8 Repeat step 6 for each of the remaining stacks of takes in the A6 track. Don’t forget the
last stack of clips near the end of the scene.
9 When you have finished, choose Mark > Clear In and Out or press Option-X (macOS)
or Alt-X (Windows).
10 Choose View > Show Audio Track Layers to deselect that view option and hide
the layers.
11 In the Tracks Index, turn on the visibility for the A5 and A6 tracks. Then use the Vertical
slider to resize the height of your tracks.
12 Press Shift-Z to zoom the tracks to fit the current timeline space.
14 Play through the timeline once from start to finish to hear the entire scene with the
new voiceover clips in place.
In the next lesson, you’ll work more extensively with dialogue editing. First, you’ll use audio
track layers to overlap and crossfade some music clips.
2 Play the timeline from the beginning and listen to the music in the context of the
scene, a part of the movie’s dramatic opening sequence.
1 Choose Workspace > Timecode Window to show the floating timecode window.
As you can see, the timecode window shows a larger version of the current playhead
position, also visible in the timecode display. You can resize and move this window
anywhere on the screen. In the viewer, the timecode window burn-in shows a starting
timecode of 01:00:33:20.
3 Right-click the 3e Music Crossfades Start timeline, and choose Timelines >
Starting Timecode.
4 In the Set New Start Timecode dialog, type 01003320. Click OK.
The first frame of media now starts at the new timecode. However, you’ll also see an
empty space in the timeline that indicates the space between the original starting
timecode and the new timecode. To refresh the timeline, you need to close the media
pool or go to another timeline and return.
Now that the timeline is set, you can commence with creating crossfades between the
music selections on the A5 track.
In this exercise, you’ll create crossfades between three music clips in the same track to
seamlessly change music during the scene. This time, you’ll work with stereo music clips
that include two audio channels and an empty layer above each channel. Since you will
be working with fades, this is a good time to use the Up and Down Arrow keys to jump to
fades as well as clips.
1 In the Timeline View Options menu, make sure the default Jump to Clip, Jump to Fades,
and Jump to Markers options are enabled.
With all three default Jump to options enabled, you’ll be able to use the Up Arrow and
Down Arrow keys to quickly navigate to the previous and next clip, fade, or marker.
You can clearly see the empty layers above each channel in each track. Tracks A1 and
A2 are mono tracks, tracks A3 and A5 are stereo tracks, and track A4 is a 5.1 surround
sound track with six channels of audio.
3 Drag the Vertical zoom slider all the way to the left to minimize the track heights as
much as possible. Then, drag down the bottom of the A5 track header to increase the
height of that track.
5 In the A5 track, play from the beginning of the second music clip (green).
This clip starts with a bit of strings like a stinger and then kicks into a cool tension-
inducing percussion beat. Let’s trim off the bit of that stinger in the green clip. To trim
a clip in audio track layers, you need to drag from the edge of the clip.
6 Using the waveform as a guide, in the A5 track, drag the lower-left edge of either
green clip channel to the right until the clip starts with the percussive beat.
Remember, you’ll hear only the uppermost layer during playback. So, you’ll hear the
teal clip during playback until the playhead reaches the green clip. Then, the sound will
cut to the percussion music in the green clip on the second layer.
8 Play the transition between the first two music clips to hear the abrupt cut from the
clip on the lower layer to the clip on the upper layer.
Sometimes, cuts between music clips work. This transition actually sounds fairly good.
However, it might work even better if you smooth the transition by adding a fade-in to
the upper clip (green).
Let’s add a 5-second fade-in to the upper clip. To measure seconds using the playhead,
you can hold down Shift and press the Left or Right Arrow keys.
9 Move the playhead to the beginning of the upper music clip (green). Press Shift-Right
Arrow five times to move the playhead 5 seconds to the right.
10 Select the upper channel of the green clip to see its fade handle. Then, drag the fade
handle to the playhead.
11 Play the transition between the clips to hear the musical crossfade.
It sounds great. Feel free to experiment with changing the length of the fade to hear
the impact of a shorter or longer crossfade.
Now you’ll add the third music clip. This could be placed above the green clip on a new
layer or on the lowest layer. The result will sound the same.
12 Drag the third music clip (blue) to the blue marker position above the other music clips.
Instead of manually dragging the fade handle, you’ll use the Fade In to Playhead
command in the Trim menu.
13 Select the highest music clip (blue) and move the playhead to the end of the green clip.
15 Play the scene from the beginning to hear the scene with additional music clips.
Now, you will move the third clip to the lowest layer and remove the fade. Instead of
a fade-in, you will add a fade-out to the green clip.
16 Drag the third music clip down to the lowest layer. Drag the fade handle on the third
clip to the left to remove the fade. Drag the fade handle at the end of the upper clip
(green) to the left so that it starts at the beginning of the third clip.
NOTE The audio fade handles include a center control for changing the
fade curve.
18 Choose View > Show Audio Track Layers to hide the layers.
19 Drag the horizontal and vertical zoom sliders to resize your tracks to fit the window.
Press Shift-Z.
You can clearly see the crossfades between music clips in the A5 track. Creating
crossfades between audio track layers is an easy and effective way to make seamless
audio transitions in your soundtrack.
— Open the ADA Scratch VO timeline in which you recorded the voiceover takes in the
previous lesson. You’ll find your ADA Scratch VO timeline in the Title for Prompt bin.
— Show audio track layers.
— Color the different takes, if necessary.
— Stack and split the phrases. Nest the timeline in a new mono track in the 3a Scene for
Comp timeline. Then decompose the nest.
— Move the phrases to the timeline markers moving right to left.
— Select the best takes and move them to the upper layer.
— Hide the audio track layers when you are finished.
NOTE DaVinci Resolve 17 introduced a new crossfade functionality where you can
right-click the edit point between two clips on the same track and add a crossfade
from the shortcut menu. Once added, you can select the crossfade and drag to
change the duration or fade shape. You can even select the crossfade and edit it in
the Transition tab of the Inspector. Additionally, DaVinci Resolve 18 includes options
to drag a range between clips and crossfade the selection.
2 True or false? During playback, the lowest audio track layer will always be audible.
3 How do you split a selected clip at the playhead? (Choose all that apply.)
a) Click the Razor (scissors) tool.
4 True or false? To create a crossfade between overlapping music clips in track layers,
you need to add fades to the upper clip.
5 True or false? Clips on the lower audio track layers are automatically deleted when
you deselect the Show Audio Track Layers option in the View menu.
2 False. Only the uppermost clip beneath the playhead is audible in audio track layers.
3 a, b.
4 True. When fading from one layer to another in the same track, it’s important to place
the fade on the uppermost clip so it will be audible.
5 False. Clips in lower track layers remain in the track unless they are manually selected
and deleted.
Preparing
Multichannel Clips
for Dialogue Editing
Fairlight gives you the flexibility Time
to change clip, track, and bus This lesson takes approximately
channel mapping at any time. This is 20 minutes to complete.
2 Move and resize the viewer so that it fits in the lower-right third of the timeline.
3 Resize the tracks so you can clearly see the clips in all three tracks.
4 Play the scene and listen to the dialogue exchange between the characters Emiliana
and ADA, the computer.
This timeline is an example of what a dialogue editor might receive from the editorial
department as “locked picture.” In other words, the picture edit is not supposed to
change. Meanwhile, the visual effects team, colorists, and audio artists are free to
begin work.
Of course, with DaVinci Resolve 18, all four departments can work on the same project
and timelines without leaving Resolve.
In the following figure, you can see all the available audio channels in each track.
The meters to the right of each track header, as well as the number above the meters,
indicate each track’s audio channel mapping. Additionally, in the Fairlight page, you can
always see the audio channels in the timeline. The Edit page, however, shows only one
channel per track, so editors might inadvertently edit an entire mono channel dialogue
scene without realizing they’re working with a stereo track.
The track header shows “1.0” to indicate the presence of one mono audio channel, and
the clips in the track display only one channel of audio.
2 Count the number of audio channels in the A2 and A3 tracks. Each track should have
two channels.
However, the clips reveal that one of the tracks might be mismatched. Looking closely
at the clips in the A2 and A3 tracks, you’ll see that the A3 track clip occupies both
channels, whereas the A2 track clips appear only to have media in the upper channel,
and the lower channel appears empty, which is an indicator that the clip does not
match the track settings. Although this discrepancy might not seem like a big deal, it
can later become an issue when you are editing, panning, and mixing tracks.
Did you notice that ADA’s voice is only coming out of the left speaker?
4 Play the timeline starting with the first clip in the A1 track. Listen to the dialogue
exchange between Emiliana and ADA.
Emiliana’s voice sounds as though it is coming from the middle of the screen, while
ADA’s voice comes only from the left speaker. That’s because Emiliana’s mono track
plays equally out of both speakers, which gives the illusion that it is coming from the
center. ADA’s voice is only on the left channel in a stereo track, so you only hear it in the
left speaker. You’ll work more with track panning in a later lesson. For now, you can fix
the mis-mapped A2 track by simply changing the track format from stereo to mono.
5 Right-click the A2 track header and choose Change Track Type To > Mono.
The visible clips now match the track type in the A2 track as a single channel of audio
in a single channel (mono) track.
There are several options you can use to access independent control of each channel
in the timeline. In the next series of exercises, you’ll explore different options to remap
clips and their constituent channels to suit your needs.
6 Solo the A1 track. Play the last two clips and focus on Emiliana’s dialogue lines, “Plot a
course to put me next to him,” and “Positive. Do it.”
Although both clips sound good, the first one (colored lime green) definitely has a
different sound quality. Perhaps another microphone source channel is embedded in
the clip. In this case, that’s exactly what you’re hearing. In Resolve, a clip can have up to
7 Right-click the last clip in the A1 track and choose Clip Attributes. In the Clip Attributes
Audio pane, click the Source Channel dropdown menu to see the number of audio
channels embedded in the clip.
The Source Channel dropdown menu reveals that the last clip contains only one
channel of audio.
Now let’s check the lime green clip, which sounded a bit muffled.
9 Right click the second-to-last clip (lime green) in the A1 track and choose Clip
Attributes. Click the Source Channel dropdown menu.
10 In the Clip Attributes window, click any empty space to close the Source Channel
dropdown menu. Then, click OK to close the window.
There you have it. The clip has quite a few embedded audio channels. In fact,
eight channels seems to be a little excessive for a dialogue clip. Usually, a clip
with eight channels indicates a 7.1 surround sound clip. Chances are that this clip
has multiple audio channels but was simply incorrectly mapped as a 7.1 surround
clip when it was first synced. No worries. This audio channel mystery can easily be
solved and fixed in the media pool.
When you are editing dialogue, it is most important that you be in control of the recorded
audio channels you want to use. Independent control of the channels starts at the clip
level, even before the clips are edited to the timeline. Fortunately, you can always change a
clip’s mapping for dialogue editing.
In the following exercise, you’ll open the lime green clip in the media pool to see the clip
attributes displayed there. Then, you’ll apply different channel mapping configurations to
the clip to determine which is best for this scene. Finally, you’ll go back to the clip in the
timeline and change the mono channel to the best embedded channel.
The media pool opens with the source clip selected in the list. In the preview player,
you can also see that it has only one audio channel.
2 In the A1 track, right-click the second-to-last clip (lime), and choose Find in Media Pool.
3 In the media pool Dialogue Channels bin, right-click the C4_02.mov clip and choose
Create New Timeline Using Selected Clips.
4 In the New Timeline dialog, name the timeline Channel Mapping. The other default
settings are fine as they are (especially Audio Track Type > Based on selected media).
Click Create.
The Channel Mapping timeline opens with a single track containing the eight channels
of audio.
5 Click anywhere in the timeline to make it active. Hold down Shift while scrolling up with
your mouse wheel, or in the toolbar, drag the vertical zoom slider to zoom in vertically
to the timeline track.
6 Hold down Option (macOS) or Alt (Windows) while scrolling up with your mouse wheel,
or drag the horizontal zoom slider to zoom in horizontally.
To evaluate and balance the levels of the dialogue tracks, you need to mute, solo,
delete, raise, or lower the levels of each audio channel. However, to exert that level of
control, you must map individual channels to separate tracks in the timeline. This is not
possible for multichannel tracks, as you will see in the next step.
7 Move your mouse pointer over the white volume overlay on the upper channel of the
clip. When the pointer changes to an up/down arrow, drag the volume overlay up to
raise the volume of that channel of the clip.
Notice that any change you make to the volume overlay on the upper channel also
applies to all other channels in the clip. So, that method clearly will not work for
dialogue editing because it doesn’t allow you to adjust each channel independently.
9 Click the Toggle Automation button to turn off automation in the timeline.
Converting Multichannel
Tracks to a Linked Group
With DaVinci Resolve 18, you can quickly convert any multichannel track to linked mono
tracks via the right-click shortcut menu. Once converted, you’ll get linked mono clips
in separate mono tracks that are linked as a group. The clips are linked to each other
to maintain sync. This is especially handy when editing or moving them in the timeline.
1 Reduce the Vertical height of the A1 track so there’s plenty of room in the timeline for
eight tracks.
In the mixer, you’ll see the eight-channel A1 Audio 1 track and the B1 Bus 1 output.
3 Right-click the A1 Audio 1 track header and choose Convert to Linked Group.
Linked clips act as a single clip for editing, trimming, or moving in the timeline.
Selecting one linked clip selects them all. Plus, you can always recognize linked clips at
a glance because they show a Link badge in the lower-left corner of each clip.
One exception to the linked clips all-or-nothing restraints is that you can toggle off the
Linked Selection button to temporarily override the linked status of all timeline clips. If
Linked Selection is off, you can adjust the clip levels for the individual tracks.
4 Click the Linked Selection button (links connected) or press Shift-Command-L (Mac) or
Shift-Control-L (Windows) to turn off linked selection.
5 In the A1 track, drag the volume curve on the clip upward to increase the clip’s level to
match the approximate waveform size as the clip in the A4 track.
NOTE It’s a good idea to keep Linked Selection turned on unless you have a
reason to turn it off so that you don’t accidentally move linked clips out of sync
while you work. You can also unlink clips via the right-click contextual menu.
You’ll use that technique later in this lesson.
The temporarily unlinked clips are useful for making quick level changes to the individual
mono clips. However, what if you want to solo or mute some of the tracks to evaluate
them individually?
In this exercise, you’ll use the Link Group window to unlink the grouped tracks.
1 Choose Fairlight > Link Group to open the Link Group window.
The Link Group window shows all the tracks in the timeline. In this case, there are
eight mono tracks. The white bar connecting each of the track icons indicates that they
are linked.
2 Select the linked track icons and click the Unlink button.
There are eight independent mono tracks in the timeline and eight corresponding
mono tracks in the mixer.
You can now freely solo or mute the tracks to evaluate their sound independently.
4 Solo the A1 track and listen to some of the dialogue in the track.
Wait? Why is the sound coming only from the left speaker again? How is this possible
if it is a mono clip in a mono track? The answer is simple: panning. When you convert
a multichannel clip to a linked group, it maintains the original panning for the original
multichannel track. This is great when you are mixing and finishing your soundtrack.
At the moment, however, you want to simply reset all the panning to match the current
track type, which is mono.
No problem. As you’ll discover through the exercises in this chapter, both tracks and
clips have attributes that can be changed. In this case, you’ll select all the tracks and
remove the panning attributes.
5 Select the A1 track header and swipe down to the A8 track to select all the tracks.
7 Play some of the dialogue in the A1 track. This time, you should hear the mono
dialogue in both speakers, and it should sound like it is coming from the center of
the screen.
You’ll work more with track panning and linked groups in the mixing sections of this
book. For now, the important things to understand are that clips should match the
track format, and the default panning for mono tracks is to the center.
2 Try to select one of the silent clips (no waveform) on the A2, A3, A7, or A8 tracks.
As expected, you can’t select them independently as long as they are linked.
3 Right-click the linked clips and choose Link Clips to deselect that option.
The clips are now completely independent and can be selected, edited, moved or
deleted. Also, there is no longer a Link badge in the lower-left corner of each clip.
5 Select and delete the clips in the A3, A7, and A8 tracks.
Clearly, you have full control of all the remaining clips. Let’s narrow the timeline further
to just the A1 track.
6 Select and delete the clips in the A4, A5, and A6 tracks.
There you have it. You converted a multichannel track into a linked group, and then
unlinked the clips and tracks for control to delete unwanted elements. This might not
be the most efficient way to narrow down a clip to one mono channel, but it makes for
an interesting journey with infinite channel mapping possibilities along the way. Let’s
take this example full circle and change the A1 track and mono clip back to the original
multichannel formats.
As expected, you’ve changed the track format to eight channels, but the clip is still a
single channel mono clip.
10 In the Clip Attributes dialog, change the Format dropdown menu from Mono to 7.1.
Click OK.
12 Zoom vertically until you can clearly see the channels within the A1 track.
Voila! In just a few clicks you returned the mono clip and track to their full eight‑channel
format. This concludes your first epic multichannel clip adventure, there and
back again.
1 In the A1 track, double-click the clip to open Clip Attributes. Click the Audio tab to see
the clip’s channel attributes. In the Clip Attributes dialog, set Format to Adaptive 4; and
set the four Source Channel dropdown menus to Embedded Channel 1, Embedded
Channel 5, Embedded Channel 4, and Embedded Channel 6.
2 Click OK.
The four-channel adaptive clip is visible in the A1 track. However, because the track
is still an eight-channel 7.1 surround track, the lower four channels are empty.
3 Right-click the A1 track header and choose Change Track Type To > Adaptive > 4.
Now you can see and hear all the sources at once while editing. That’s ideal for the
editor or assistant editor who is assembling selects (select takes, or best takes) and
cutting together a scene.
In the Edit page timeline, notice that the clip shows only one audio channel, which
is easy for the editor to work with, whereas the Fairlight page always displays all the
audio channels for each track.
TIP In the Edit page, you can display individual channels for a clip by right-
clicking any clip and choosing Display Individual Audio Channels. Also, to
display audio waveforms in the Edit page, click the waveforms icon in the
timeline Options menu.
6 On any of the audio channels, drag the volume overlay up or down. Double-click the
volume overlay to reset it.
As a dialogue editor, you still need to gain independent control of the separate channels
to narrow down your choice to the best-sounding channel. Luckily, you have plenty of
options to do so.
7 Double-click the clip and click the Audio tab. In the Clip Attributes dialog, change
Format to Mono. In the Source Channel dropdown menu, choose a channel: 1,
4, 5, or 6.
Alas, you have successfully changed the incorrectly mapped 7.1 clip into a mono clip
in a mono track. You have experienced firsthand Fairlight’s flexibility for transforming
clips and tracks as much as needed. Of course, the looming question remains: How
do you know which of the four embedded audio channels to use in the dialogue track?
Sure, you could go back to the mono clip’s attributes and systematically audition each
mono channel, but it’s much easier to evaluate and compare audio channels when you
can hear them together and solo or mute them on-the-fly for comparison. To do so,
let’s return to the original source clip and modify the source clip’s attributes for testing
those embedded audio channels.
1 In the A1 track, right-click the clip and choose Find in Media Pool.
2 In the media pool, right-click the selected C4_02.mov clip and choose Clip Attributes.
And now for the fun part. You can use the Format and Tracks settings near the top of
the window to set up and add any channel configuration or combination of channels
that you’d like.
3 In the Clip Attributes settings, set Format to Adaptive 4. Keep the default Tracks setting
as 1 and click Add.
4 Change the Embedded Channel settings in the adaptive track to Embedded Channel 1,
Embedded Channel 4, Embedded Channel 5, and Embedded Channel 6.
Now let’s add another channel mapping configuration to the same clip.
You now see all the added audio channels in the preview players. Let’s add the revised
clip to the timeline. Remember, in DaVinci Resolve 18, the Fairlight page automatically
creates tracks to match the source clip’s channel mapping.
7 Drag the C4_02.mov clip from the media pool to the empty space in the timeline.
Exactly as expected, the new audio clip includes a 7.1 track, an Adaptive 4 channel track,
and four independent mono tracks, each with a different audio channel. Chances are,
you’ll never need to make an audio clip with this exact configuration, but now that you
have, you can confidently create any audio channel mapping you need for your projects.
Let’s narrow down the clip to just the last four mono tracks.
9 Repeat step 8 to delete the 7.1 track and the Adaptive 4 channel tracks.
Finally, you can listen to each mono audio channel to evaluate the various microphone
sources and select your favorite source to use for this scene. Along the way, you can use
some of the skills that you’ve learned in the previous lessons to simplify the process.
10 Zoom in on the tracks vertically to clearly see the contents of each mono track.
Next, you’ll mark a playback region around Emiliana’s line, “Plot a course to put me
next to him.” Once marked, you can loop playback around that line while you listen to
the separate tracks.
12 Delete all but your favorite mono track. If you aren’t sure which one to choose, keep
the A1 track.
The audio in track A1, formerly channel 1 in the 7.1 clip, sounds like a mix of the
channels on A2 and A4 that was created on the set by the production sound Mixer.
NOTE It’s okay if you can’t hear much difference between the channels. Training
your ears to hear subtle audio differences is similar to colorists training their eyes
to recognize subtle differences in shadows and flesh tones. You probably were able
to eliminate the sound on A3 because it sounds more muffled than the others. That
also happens to be the audio channel in the edited scene.
1 In the media pool, right-click the C4_02.mov clip and choose Clip Attributes.
2 In the Clip Attributes window, hover the pointer on the far right side of the 7.1 track
area until a trash can icon appears. Click the trash can icon to delete that channel
configuration from the source clip.
3 Delete the Adaptive 4 channel track. Click OK to close the Clip Attributes.
The clip now comprises four mono tracks, each containing a different embedded
audio channel. The original eight embedded channels are still part of the clip’s media
and can be accessed through the source Clip Attributes window at any time.
4 In the Source Channel dropdown menu, choose Embedded Channel 1 or your favorite
source channel. Click OK.
You not only learned the secrets of Resolve’s flexible audio channel settings but also
evaluated the channels in a timeline clip and changed the clip’s mono channel accordingly.
2 Which right-click menu item must you use in the timeline or the media pool to change
a clip’s channel mapping?
a) Clip Channels
b) Clip Attributes
d) Dynamic Range
3 By default, how many mixer channel faders control a 7.1 (eight-channel) linked group?
a) 1
c) 8
c) Select the clips and choose Link Clips from the right-click menu.
2 b
4 b, c
Editing
Dialogue Tracks
However, in addition to dialogue, the dialogue editor is also responsible for all the
production sound recorded during the shoot. When the picture editor is finished with a
cut, they pass it to the Sound department where the dialogue editors organize the sounds
from the set into appropriate tracks. They also remove unwanted “production” sounds
such as camera noise, buzzing lights, and squeaky dolly wheels. The dialogue editor also
ensures that every syllable of dialogue is clear and present, even if it requires wading
through outtakes to find a better-sounding take. They may also swap the sound in a wide
shot with audio from clean close-up takes to improve clarity and presence.
The dialogue editor’s “big picture” goal is to improve the clarity and consistency of each
word within the context of a scene, as well as to create a seamless dialogue experience.
So, in addition to cleaning up and improving spoken words, they also fill in and smooth the
gaps between lines to eliminate any silence or jarring changes in ambience between cuts
that could distract from the dialogue-driven performances.
Performing Checkerboard
Editing on Dialogue Tracks
Once a scene is edited, and the best audio channels are chosen in the timeline, it’s time to
split and move all the dialogue clips to separate tracks for each character. This process is
referred to as checkerboard editing because of the way the tracks look when the process
is completed.
The primary reason for separating out the dialogue for each character is so that each
character has an individual track when you’re adjusting volume, equalization, and dynamics
processing, and creating the final mix. This editing technique is essential for all projects,
whether they are scripted narrative, unscripted, dramatic, corporate, or documentary.
In the next series of exercises, you’ll follow a checkerboard editing workflow that starts
with watching the scene and creating a track for each character.
For this scene, all the dialogue clips are properly mapped mono clips with the correct
source channel.
2 Play the scene and listen to how many characters have speaking parts. (Hint: computer
voices count as characters.)
Three characters have speaking parts: Emiliana, Philip, and ADA. Each will need a
separate dialogue track. ADA’s voice is already on a separate track, whereas Emiliana
and Philip still need separate tracks. So, let’s leave Emiliana’s clips in the upper track
and move all of Philip’s dialogue to a new track.
3 Right-click the A1 Track header and choose Add Track > Mono to create a new mono
track below A1.
4 Change the names of the first two tracks to: A1, EMILIANA, and A2, PHILIP.
5 Right-click the A2 PHILIP track header, and choose Change Track Color > Yellow.
Change the color of the A3 ADA TEST VOICE track to Tan.
The tracks are set and ready for separate clips…almost. Many dialogue editors will do
one more thing before splitting up the dialogue tracks.…
So, please keep in mind that if you are an assistant editor who spends tireless hours
normalizing, keyframing, and tweaking dialogue levels on your scenes before passing
them along to the audio department, your efforts are appreciated by the picture editor
and anyone who screened the edit.
Meanwhile, seasoned dialogue editors will likely begin each new scene with clean dialogue
by resetting all the levels, removing any plug-ins or EQ applied to the timeline clips. This
is quite easy to accomplish in the Inspector or the Remove Attributes dialog. For this
exercise, you’ll use the Remove Attributes dialog to reset the clips in the A1 and A3 tracks.
1 In the A1 track, drag the Selection tool across all the clips to select them.
4 Click Apply.
5 Repeat the previous steps to reset the clips on the A3 track. When you are finished,
click any empty space in the timeline to deselect all the clips.
With the tracks created and the levels reset, you are ready to move the dialogue clips
to the correct character tracks.
In this exercise, you’ll use shortcuts for everything from selecting tracks, to moving the
playhead, and editing the selected clip to a different track.
The keyboard shortcuts for clip editing are identical in macOS and Windows. Their only
differences are the modifier keys. In macOS, you’ll use the modifier keys Command and
Option, whereas on a Windows system, you’ll use the modifier keys Ctrl and Alt.
For the first part of this exercise, you’ll first use the menu to apply a command. Then, you’ll
use the keyboard shortcut the next time you use that command. After that, you’ll be ready
to fly through your workflow using only shortcuts to finish the job. And don’t worry about
memorizing shortcuts; chances are you already know them, and if not, you’ll pick them up
after a single use.
2 Choose Timeline > Timeline Destination Selection > Audio Destination A1 to select
the A1 track. While the menu is visible, look at the other Track Destination Selection
options and shortcuts.
Notice that the keyboard shortcut to select the A1 track is Option-Command-1 (macOS)
or Alt-Ctrl-1 (Windows). Also, in the Track Destination Selection options, you’ll see that
the shortcuts to Move Audio Track Destination Up or Down use the same macOS/
Windows modifier keys along with the Up Arrow or Down Arrow. If you look closely
at the list of shortcuts from Audio Destination downward, you’ll see that the Audio
shortcuts all use the same two modifier keys. So, the good news is that the only thing
you need to remember is the two modifier keys (the two keys closest to the Spacebar)
and track number or the Up and Down Arrows. Easy.
You already use the JKL shortcuts for navigation; so, in this exercise, you’ll use the
Down Arrow or Up Arrow to move between clips, because when a track is selected,
the arrow keys move the playhead to the next clip in the track and select that clip
automatically. Let’s try it.
3 With the A1 track already selected, press the Down Arrow to select the first clip in the
selected track.
Remember, the Up Arrow and Down Arrow keys jump to the previous or next clip,
marker, and fade by default. If necessary, you can change the Navigation Options in
the Timeline View Options menu.
4 Press the Down Arrow as many times as necessary to move down the timeline to the
head of the fourth clip.
5 Press the Spacebar to play the clip. When playback is finished, press the Up Arrow, if
necessary, to move the playhead to the tail of the clip and select it.
Clearly, this is Philip’s dialogue clip. So, you’ll now use a command to cut the clip. Once
cut, you can select Philip’s track as the destination and paste the clip in the new track.
Let’s look at the Edit menu to verify which shortcuts you’ll need.
6 Click the Edit menu, and hold down the mouse button for a moment to look at the
common edit commands and shortcuts.
Most likely, these are exactly the same shortcuts that you use for text editing as well.
The Selected clip turns semitransparent to indicate that it has been cut from the
current position and is ready to move and paste elsewhere.
The semitransparent clip appears in the exact same position on the A2 track.
9 Press Command-V (macOS) or Ctrl-V (Windows) to paste the clip into the new track.
The clip is moved. Keep in mind that cutting-and-pasting destinations are actually
based on the playhead position. So be careful not to move the playhead after you cut a
clip, if you are simply moving it to a different track.
The A1 track is selected and ready for you to locate and move Philip’s other clips.
Notice that the clip that you pasted into Philip’s track is yellow because you previously
changed the track color. All the clips you move to Philip’s track will also turn yellow
while they are on that track.
To finish separating out the dialogue tracks, you’re now on your own. It’s up to you to use
the same shortcuts to locate and move Philip’s remaining dialogue clips to the A2 track.
If you make mistakes, no worries, just choose Edit > Undo and try again.
A few things to consider before you get started. Some of the audio clips include production
sounds such as breathing and rustling clothes. Breathing, sighs, snorts, giggles, and so on
are considered part of the dialogue performance and should be moved to the associated
character’s track. If the scene were ever dubbed in another language, the actor performing
the new lines would also need to perform the breaths, signs, and other vocalized sounds.
Clothing movement, footsteps, and other naturally occurring production sounds (nat
sound) picked up by the microphones are often replaced with Foley sound recordings.
You’ll work more with Foley sound effects and other sound design elements in Lesson 7.
In the real world, dialogue editors are also responsible for splitting and moving all non-
dialogue production sound to a separate production effects (PFX) track.
For now, just move clips into the track that belongs to the character responsible for
the sound.
Don’t worry if the heads or tails of some of the clips are a little rough. You’ll clean them up
after they are moved to their own tracks.
Have fun! When you are finished, you can move on to the next section. If you don’t finish,
you’re fired—as an unpaid intern—but please still move on to the next section.
2 Move the playhead to the first clip in the A3 track. This is ADA’s first line of dialogue in
the scene (01:00:26:11).
3 Zoom in horizontally until you can see only two orange clips on A1, two yellow clips on
A2, and three or four tan clips on A3.
Adjusting the zoom level is great for focusing on specific clips during playback, but
what happens when the playhead reaches the end of the visible area of the timeline?
The playhead moves from left to right, and when it reaches the right edge of the
timeline, it continues again from the left as it plays the next section of the timeline.
This is just like turning the pages of a book. This common playback mode works for
most activities, but when you are trying to focus on the sound of the clips, it can
become a little distracting. Let’s change it.
1 Press Shift-Up Arrow to move the playhead to the blue timeline marker.
The playhead returns to the blue marker, which is now conveniently centered in
the middle of the timeline ruler. This marker, placed right before Philip’s first line of
dialogue, is a great place to start this exercise.
2 Open the Timeline View Options menu, and click the Fixed Playhead button. Close the
menu when you’re finished.
While admiring the Fixed Playhead mode’s scrolling playback, you probably heard a
few rough patches in Philip’s dialogue.
4 Use the JKL keys to scroll to around 01:01:04:01, right before Philip says, “We’ve been
trying to fix it.”
NOTE In Fixed Playhead mode, you can press the JKL keys or drag the timeline
ruler left or right to scroll the timeline forward or back. To move the fixed
playhead to a different position, you drag the top of the playhead where it
crosses the ruler.
5 Start playback again and focus on the end of the current clip and the head and tail of
the next clip. When Philip says, “Two hours ago,” stop playback.
Clearly, Philip’s dialogue clip that includes the words, “went space walking,” needs
some work at both its head and tail. At this point, you’ll go back to normal timeline
scrolling playback mode to clean up the clip. However, the next time you need to
focus on audio playback, you can simply turn on Fixed Playhead mode and let the
timeline scroll!
1 Open the Timeline View Options menu and click the Page Scrolling (middle) button for
Timeline Scrolling.
2 Move the playhead to 01:01:08:08, which is directly over the clip that you’ll work on.
Zoom in horizontally until you can clearly see the clip beneath the playhead, as well as
most of the neighboring clips on either side.
At its current size, parts of the waveform are cut off at both the head and tail of the
clip. Also, the bright green color makes it easy to identify the clip as a work in progress.
Let’s mark In and Out points around that section of the dialogue to include the word or
phrase just before and after the current clip. Then, you can determine exactly what is
wrong and how to fix it without compromising the other clips.
4 Press R to enter Range mode. Drag a selection rectangle around the clips on the
A2 track from around 01:01:06:00 to 01:01:11:00.
TIP You can see the timecode for the In and Out points in the timecode
display in the upper left of the timeline and use it as a guide while you drag
your selection.
The first clip ends with Philip saying, “Since it happened,” followed by a large intake of
breath. The middle clip starts in the middle of the word “you” as Philip says, “You went
space walking.” To fix the first edit point between dialogue clips, you can extend the
head of the lime clip to include the entire word “you.” Don’t worry about cutting some
of Philip’s breath sound from the tail of the outgoing yellow clip. Dialogue editing is
about making the dialogue clear and intelligible. The breath sounds are important but
also incidental to the dialogue.
Remember that when you trim an audio clip in the Fairlight timeline, you see the
entire waveform of the clip, which makes it easy to see where words and phrases
start and end.
7 Drag the head of the lime green clip to the left to include the entire word “you.” Use the
waveform as a guide as you extend the clip.
8 Drag the tail of the lime green clip to the left until you remove all of the waveform (the
partial word) at the end of the clip.
10 When you are finished evaluating that section of dialogue, stop playback.
What are your thoughts? Does the dialogue sound natural? Does anything distract
from the words or performance?
Did you notice that Philip takes two breaths before his line, “Then just two hours ago”?
The first partial breath is at the end of the lime green clip while Philip is offscreen.
The second breath is right before his line, “Then just two hours ago.” The first
partial breath is unnecessary and should be trimmed. The second breath is part of
the performance.
If your talent takes excessively loud breaths, or they suffer from a cold or sinus condition
that involves distracting whistling or wheezing, then by all means tone down the wheezing
or replace it with less distracting breaths. But don’t remove it entirely.
Here are three circumstances where you should completely remove all breathing from
recorded voiceover/dialogue tracks:
2 Move the playhead over the middle of the lime green clip.
3 Drag the Vertical zoom slider all the way to the right to dramatically increase the height
of the selected track.
The playback range from 01:01:06:00 to 01:01:11:00 should now dominate the timeline.
NOTE If you’re working with a three-button mouse, you can hold Option-
Command and scroll the middle-mouse button/wheel to increase or decrease
the waveform zoom level. Keep in mind that changing the waveform zoom level
for a selected track does not affect the track’s volume.
In the larger waveform, you can clearly see the waveforms for the separate breaths
and the ambient room sound that was picked up by the microphones. In the next
lesson, you’ll use room sound (room tone) to fill the gaps between the dialogue clips.
For now, let’s focus on fixing those breath sounds.
6 Mark a new playback range from 01:01:08:00 to 01:01:10:00. This range cuts off the
dialogue but makes it easier to focus on the breaths between words.
The breath sound at the end of the lime-colored clip represents a fairly large increase
in the waveform, so you should be able to trim it just by using the waveform as a visual
guide. Keep in mind that Philip is offscreen at this point, so there’s no reason to include
this breath, just the sound of him moving across the room.
Right-click the lime-colored clip and choose Track Waveform Zoom > Reset Zoom All
Tracks to reset it.
10 Press R to enter Range mode. Click any empty space in the timeline to clear the
timeline marks. Then, click the lime clip to mark that clip for playback. Press A to enter
standard Selection mode.
11 Listen to the green clip. When you’re finished, press Option-X (macOS) or Alt-X
(Windows) to clear the In and Out points.
The end of the lime clip sounds much better with the removal of the partial breath.
Why expend so much effort to trim the breath at the head of a clip? Because, in addition to
editing spoken words and managing audible breaths, dialogue editors are also responsible
for removing unwanted human noises such as lip smacks and tongue clicks. As you know,
at the beginning of the next clip, Philip takes a breath onscreen as part of his performance.
Right before that breath is a bit of mouth noise that should be eliminated. So, for this
precision maneuver, you’ll employ the power of loop jog scrubbing to determine how
much to trim.
1 Move the playhead to the empty space between the lime green and yellow clips.
2 Drag the horizontal scroller at the bottom of the timeline to the right until the end of
the lime green clip is near the A2 track header. Then, increase the vertical height of the
A2 track as shown in the screenshot below.
You should have a clear view of the waveform and the beginning of the yellow clip.
3 Drag the playhead from the head of the clip to find the beginning of Philip’s first
words, “Then, just two hours ago.”
With standard audio scrubbing turned on, as you scrubbed the playhead over the clip,
you should have heard a bit of the tongue click and breath sounds.
This time, you can’t hear any sound at all while dragging the playhead. Without audio
scrubbing enabled, you are limited to using your eyes to judge the waveform while
trimming, which is not recommended!
6 In the Timeline menu, choose Loop Jog to enable loop jog mode. If necessary, enable
Audio Scrubbing before enabling Loop Jog in the Timeline menu.
7 Drag the playhead over the beginning of the clip once again. When you reach Philip’s
words, hold the playhead still.
This time, you could probably hear much more detail as you scrubbed the playhead.
The fast-looping sound you hear is an 80-ms (millisecond) sample preview of the
sound preceding the playhead.
8 Release the playhead. Press the Up Arrow to move the playhead to the beginning of
the clip.
10 Click the User button to show the User Preferences panel, and in the preferences
sidebar, click the Fairlight tab.
In the Fairlight General Settings, you’ll see the Loop Jog Alignment dropdown menu and
a field in which to set the Loop Jog Width. The default setting is 80 ms (milliseconds).
Each second of video equals 1000 ms. So, by setting the loop jog amount to 2000
ms and centering it around the playhead, you will hear 1 second before and after the
playhead. Let’s test this in the timeline.
12 Scrub the playhead over the beginning of the yellow clip and hold it in place to hear
the loop jog cycle.
Well, those 2000 milliseconds loop exactly as predicted. Unfortunately, it isn’t helpful
at all in this situation. A 2000-millisecond playhead-centered loop jog cycle is handy
for checking playback around edit points, but for cleaning up sound, you’re better off
using the default settings.
13 In the User Preferences of Fairlight General Settings, change the Loop Jog Alignment
to Pre and the Loop Jog Width to 80 ms. Click Save.
With this pre-playhead setting, you can scrub forward slowly over the tongue-clicking
sound and hear the repetitive looping sound of that clicking, which will sound like
teeth chattering as you drag. When you no longer hear the chattering sound, you will
know that you are clear of the tongue click.
TIP Increasing the volume of a clip is helpful when trying to identify and trim
low-level sounds. Dragging the volume overlay is a fast way to increase the clip
level while you work. When you finish, double-click the clip volume overlay to
reset to the default value.
Next, you will trim the head of the clip. You can do
this manually by dragging the head of the clip to the
playhead or use a Trim menu option to trim the start of
the clip. Let’s use the Trim Start option available in the
Trim menu. In order to use the Trim Start option, either
the clip or the track must be selected.
18 Zoom out of the timeline and tracks to fit all the clips in the Timeline window.
To further understand the task, let’s look closer at the Fairlight mixer and the target levels
for dialogue.
NOTE For the following exercises, you will continue working with the same
timeline. If for any reason you didn’t complete all the previous exercises, feel free to
open and continue working with the 5b Dialogue Clip Levels timeline.
1 Show the mixer. Drag the left edge of the mixer to the left to extend it until you see all
four tracks (A1 through A4) plus the Bus 1 output (B1).
The Fairlight mixer opens to the right of the timeline. You can easily identify each track
by the color bar at the top and the track name in the middle.
As you can see, in the mixer, the corresponding channel strip is also selected.
4 In the mixer, in the A1 channel strip, click the Solo button to solo the A1 track.
The Solo button in the A1 track header is also in the on position. Because the first clip
in the A1 track has no dialogue, let’s move on to the second and third clips.
You’ll work more extensively with the mixer in Lessons 10–14. For now, focus on the
meters at the bottom of each channel strip.
Loudest peak
Dialogue range
Record
Solo
Mute
The average level should be around -12 decibels (dB) on this peak meter. However, context
is also important. If you have characters who are bigger and louder, their levels might be
closer to -10 dB. A quieter voice might sound better around -15 dB because it is a speaking
voice. Blood-curdling screams could be as high as -3 dB, while hushed whispers might be
as low as -20 dB.
2 Press Option-/ (slash) in macOS or Alt-/ (slash) in Windows to start looped playback.
3 Look at the meter in the A1 channel strip to determine the current dialogue level.
During playback, watch the solid bar in the meter to see the average level. Also, look
for the highest peak, based on the horizontal peak mark in the meter.
4 Stop playback.
The average level in the first dialogue clip was around -27 dB, while the average for the
second clip was around -22 dB. In both cases, the clips are significantly lower than the
target level of -12 dB.
You have enough information to go ahead and start adjusting the clip levels. However,
the Fairlight page includes two additional tools that you can employ here to make
evaluating and adjusting clip levels even easier, including Clip Volume display and the
Meter plug-in.
The clip gain line volume level now appears in the lower-left corner of each clip. In this
case, the dialogue clips are all at the default level of 0.00dB, indicating that no change
has been applied to the clip levels.
6 Show the Effects Library. In the Fairlight FX list, drag the Meter plug-in to the A1 track
header. Hide the Effects Library.
A floating Meter window named after its corresponding track, EMILIANA, appears in
the middle of the timeline.
7 Drag the EMILIANA meter to the A1 track and place it between the two clips that
you’re evaluating.
8 Start looped playback and watch the floating Meter window to see the average levels.
With the help of the floating meter, you should easily be able to see the levels of the
clips during playback.
9 Stop playback. Choose Reset from the Options menu (...) at the top or the Meter
window to reset the meter.
1 Zoom in horizontally as much as necessary to focus on the second and third orange
clips. Feel free to move the floating Meter as needed.
Remember, you want the adjusted level to average around -12 dB on the meter.
Depending on the actor’s voice and inflection, some fluctuation will occur between
the peaks and the average. In this clip, the average (solid bar) is around -26 dB,
while the peak is near -23 dB. So, the difference between the current average
and the desired average (-12 dB) is approximately 14 dB.
2 Press R, and using the Range tool, click the first of the two orange clips to mark it
with a play range. From this point forward, you will simply be asked to mark the clip or
mark a play range.
5 Play the marked clip to see if it is closer to the average target level of -12 dB.
The average is right on target. Now you can move on to the next clip. This time, you will
adjust it on-the-fly during playback using keyboard shortcuts from the Clip menu.
6 Mark the next dialogue clip in the A1 track. Then, select the clip with the Pointer tool.
The clip gain level in the clip display should be between 6.00dB and 7.00dB.
Remember, the numbers in the clip display represent the percentage of change (gain)
applied to the original level of the source material. They do not specify the actual
volume level of the output.
Don’t worry about finding the perfect number. As long as Emiliana’s dialogue levels are
consistent and those levels reflect the context of the scene, it should be fine. Later, you
can finesse the levels of the entire track when you start mixing.
10 Mark the clip. Use either the Range Selection tool or the Selection tool to adjust the
volume overly.
11 Start playback and set the volume level for the clip.
12 Choose Mark > Clear In and Out or press Option-X (macOS) or Alt-X (Windows).
13 Press Shift-Z to fit all the clips horizontally in the timeline. Press A for the Pointer tool.
Close the floating EMILIANA meter.
Excellent work. Hopefully, by the third clip you were more comfortable with the
workflow and confident in your clip level settings. One of the wonderful things
about audio post work is that it is fairly straightforward once you understand what
you need to do and why.
Next, you’ll add a Meter plug-in to the A2 PHILIP track. However, instead of adding a
new plug-in, you can simply drag the meter plug-in from the A1 track to the A2 track
in the mixer. That’s right: You can now drag and drop or Option-drag to copy plug-ins
from track to track. Let’s try it.
Notice that the Insert button (In) on the A1 channel strip is yellow, indicating that a
plug-in effect has been applied to the track.
3 In the mixer, drag the Meter plug-in from the effects list in the A1 channel strip to the
effects list in the A2 channel strip.
The Insert button on A2 shows that there is now a plug-in on that track, and the
floating Meter is named PHILIP just like the A2 track.
NOTE In addition to showing that a track has plug-ins applied to it, the Insert
button can also be used to toggle off and on all of a track’s plug-ins with a
single click.
5 Play the two clips to hear the dialogue and watch the meters to get a feel for the
overall levels. Pay attention to the context and emotion in Philip’s performance.
You probably noticed that his levels were right on target in some places and much
quieter in others. However, dialogue isn’t a one-size-fits-all proposition. When Philip
gets excited about the explosion, his voice should be a little louder. And when he
returns to Emiliana to tell her that she (the other Emiliana) died, he is a little choked up
and his voice is understandably lower. To maintain the authenticity of the performance,
you want to maintain some difference between his levels, but not too much. Let’s
add a few keyframes to bring Philip’s levels closer to the target levels. Remember, the
difference between a loud speaking voice (-10 dB) and an audible hushed whisper
(-20 dB) is only 10 decibels.
NOTE In Lesson 10, you’ll explore dynamics processing that can manage the
dynamic range between the loudest and quietest speech levels.
Let’s start with the first clip where Philip says, “Then just two hours ago…boom…there
was this explosion, and it surrounded the whole ship.”
6 Mark the clip. Zoom in as much as necessary to clearly see the entire waveform of
the selected clip. Start looped playback and watch the levels. When you are finished,
stop playback.
7 Scrub the playhead over the clip or press the JK or KL keys in combination to find
where Philip’s breath stops and his speech begins. Visually, this occurs when his
head turns.
This is where you will set the first keyframe. Luckily, with DaVinci Resolve 18, applying
keyframes to the clip gain line is as easy as dragging a range. Literally! Instead of
Option/Alt-clicking the line to add keyframes one at a time, you’ll simply drag a range
and the keyframes will be added automatically when you adjust the range level.
9 Press R for the Range tool. Click in the empty space in the timeline to clear the
current range.
10 Drag a range on the clip from the playhead position (01:01:09:18) to the end of Philip’s
line, “Then just two hours ago….” The range doesn’t need to be exact, as long as it is
after the breath and the dialogue is included.
As you can see, two pairs of keyframes appear on both sides of the range to
accommodate the level change.
12 Start looped playback and watch the meter as you finesse the levels. When you’ve
finished, the gain should be somewhere between 6.00 dB and 8.00 dB.
13 Stop playback and clear the range. Press A to return to Pointer mode.
How do you know the clip gain levels once there are changes within the clip? Simply
select a keyframe or the gain line to see a tooltip.
Here are some basic guidelines for setting and deleting audio keyframes:
— As the name suggests, keyframes are used to set values on specific frames. So, you
can create and move them based on full frames, regardless of your zoom level.
— Pairs of keyframes between sections of dialogue make it easier to raise or lower
each section as you go.
— To set keyframes one at a time, Option-click (macOS) or Alt-click (Windows) the
volume gain line.
— After a keyframe is created, you can move it or select and delete it.
— Command-Option-click (macOS) or Ctrl-Alt-click (Windows) a keyframe with the
pointer to delete it.
— To clear all the keyframes on a clip, in the Inspector, click the Clip Volume Reset button.
Next, your goal is to increase the volume of the next part of the dialogue just before the
large spike in the waveform that represents the “plosion” part of the word “explosion.”
In fact, the waveform spike in “plosion” is a perfect representative of a plosive.
14 Move the playhead to just before the powerful spike in the waveform between “ex”
and “plosion” at around 01:01:13:00. Drag a range from the playhead toward the left
to include the beginning of the line, “Boom.” Then, start looped playback and raise the
volume gain level before the plosive to somewhere between 2:00 and 4:00 so that the
average part of the waveform looks and sounds similar to the levels on the other side
of the plosive.
15 Clear the range. Scrub the playhead over the section you just worked on and watch the
meters to see the levels.
Scrubbing the playhead is a great way to check levels without having to play the clip. Of
course, listening to the clip levels in context is important for evaluating the levels.
16 Play the finished clip. When you’re finished, close the floating meter.
The changes in volume are seamless yet are all within the standard dialogue range.
Did you notice that the levels are also in the yellow range on the meters? The more you
work with dialogue, the quicker you’ll become at recognizing levels and making the
necessary adjustments.
Philip isn’t whispering; he is talking, albeit quietly in places, so don’t leave his dialogue as
low as a whisper (-20 dB). How much, and which phrases you adjust are up to you.
Also, remember that part of the waveform is only the sound of Philip crossing the room
and leaning in. Just as you avoided raising the level of his initial breath, consider keeping
those levels lower than the dialogue. Good luck.
When you’re finished, if you have time, adjust the lime green clip and the clip before it so
that the entire series of four clips sound good together. If you are feeling dialogue savvy,
by all means finish all of Philip’s track.
Applying Auto-Leveling
to Balance Clips
If you think balancing dialogue levels is agonizing and tedious, DaVinci Resolve offers two
“cheats.” Resolve 18 includes automatic clip volume normalization and a new AI-based
track effect: the Dialogue Leveler. Let’s start with normalization.
Clip normalization is available in both the edit page and Fairlight page for quickly setting
the peak levels in a clip without considering the context of the scene or the performance.
Auto clip-normalization is like using the auto-white balance tool in the color page. It’s an
easy way to set a starting point for an editor who needs to quickly set levels on audio clips.
Of course, now that you’re a seasoned dialogue editor, you probably have no interest
in using auto-normalization. However, it’s still worth knowing about, and in fact the one
circumstance in which auto-normalization is most effective is when you are working with
a voiceover track with little or no inflection or emotion to consider—a computer voice,
for example. And it just so happens this timeline has such a track—so, you’re in luck.
1 Clear the range, if necessary. Select the A3 track. Hide any open panels.
2 Adjust the zoom levels in the track until you can clearly see the first five clips in the
A3 track.
3 Right-click the first clip in the A3 track and choose Normalize Audio Levels to open
the Normalize Audio Level panel for that clip.
In the Normalize Audio Level dialog, you can select a peak Target Level in dBFS
(decibels full scale). If the average level should be around -12, then the peaks might
be closer to -9. Let’s try it.
4 Set the Target Level to -9 dBFS, which is the default level, and click Normalize.
The clip gain line and waveform in the clip are reduced slightly. So, what actually
happened? Normalization set the volume gain so that the highest peak in the clip is at
the volume level that you designated (-9 dBFS).
5 In the mixer, drag the Meter plug-in from the A2 channel strip to the A3 channel strip.
The clip’s average level is around -11 dB, and the peak doesn’t exceed a sample
peak of -8.9 in the meter ( 9 dBFS). That’s not bad for the level of a talking computer.
One added benefit of using Resolve’s auto-normalization is that you can apply it to
multiple clips at once.
7 Select the first five clips in the A3 track. Then, right-click one of the selected clips and
choose Normalize Audio Levels.
This time, the Normalize Audio Level pane includes two Set Level options: Relative
and Independent. The Relative option treats the group of selected clips as if they
were one clip, so the highest peak among the clips determines all their relative
levels. Independent, on the other hand, normalizes each clip separately based on
each clip’s peaks.
8 Set the Target Level to -10 dBFS and select Independent for the Set Level. Click Normalize.
9 Solo and select the A3 track. Play the first five clips and watch the levels as you listen to
the dialogue.
As you can see and hear, the levels don’t exceed the target levels and are fairly well
balanced. You might notice that some of the clips still seem louder than others. If your
instinct while listening was to stop and investigate, you might want to manually adjust the
levels to improve them, which means you have the makings of a dialogue editor!
Now, let’s employ the powerful DaVinci Neural Engine AI to process and level the dialogue
automatically.
This timeline is a duplicate of the finished version of the timeline you were just
balancing. The first step will be to clear all the keyframes and level changes from the
A2 track. This time, instead of manually dragging to select the clips in the track, let’s
use a shortcut.
3 Press Command-A (macOS) or Ctrl-A (Windows) to select all the clips within the
selected track.
4 Right-click any of the selected clips and choose > Remove Attributes. In the Remove
Attributes dialog, select the Volume option and click Apply.
5 Click any empty space to deselect the clips in the A2 track. Select the A2 track to make
it easier to see in the mixer.
NOTE When working with a processing effect like the Dialogue Leveler, it’s
important to distinguish between applying the effect to a clip and applying it
to a track. One effect applied to an entire track requires less processing than
individual effects on every single clip within the track. In this case, since we are
balancing an entire track, it is logical to enable the effect at the track level. You’ll
work more with clip and track effects later in this book.
6 In the mixer, locate the Track FX area near the top of the channel strips.
When an effect is on the track but not enabled, the name will be italicized, as you can
see with the Dialogue Leveler as Dial Lev in the Track FX list. Once enabled, a track
effect can then be toggled on or off during playback from the customization window
or in the Inspector.
7 Hover over the Dialogue Leveler effect in the A2 channel strip until you see the
buttons to Enable (left) or Control (right) the effect. Click the Enable button.
The Dial Lev text turns yellow and is no longer italic to indicate it has been enabled.
8 Hover over the Dialogue Leveler effect in the A2 channel strip again and click the
controls button (right) to open the Dialogue Leveler control window.
Now, let’s play a section of Philip’s track that previously required a lot of keyframes to
balance and use a Meter plug-in to see the results.
9 Add a Meter plug-in to the A2 track. Arrange the viewer, Meter, and Dialogue Leveler
controls window below the A2 track.
10 Move the playhead to end of the lime green clip in the A2 track. Zoom to your taste.
Start playback and watch the levels while listening to the playback.
11 Start playback from the same position. This time, click the red bypass switch in the
upper left of the Dialogue Leveler to toggle the effect off and on during playback.
12 When you’re finished, stop playback and close the Meter and Dialogue Leveler
controls window.
NOTE If you’re using the Dialogue Leveler on the edit or cut pages, you’ll need
to access it through the Inspector. Also, at the time of this writing, you can add
the Dialogue Leveler to either tracks or clips in the edit and Fairlight pages, and
as clips only on the cut page. However, if the Dialogue Leveler is added to a
track in the edit or Fairlight pages, you will still hear the effect in the cut page.
You’ll work more with the Dialogue Leveler and other effects later in the book. For now, it’s
important that you understand how to edit and balance dialogue tracks and why. Mission
accomplished.
Yes, mapping, splitting, trimming, and balancing dialogue levels takes time, patience, and
skill. However, because the dialogue tracks are the most important audio element in your
project, the end definitely justifies the means.
Lesson Review
1 Which right-click menu option allows you to reset all keyframes and volume level
changes applied to a group of selected clips in the timeline?
a) Clip Attributes
b) Normalize Audio
c) Remove Attributes
d) De-Leveler
2 True or false? You can use common text editing keyboard shortcuts to cut, copy, and
paste audio clips in the timeline.
3 What color is visible in a track’s meters when the levels are optimal for dialogue?
a) Yellow
b) Green
c) Red
d) Blue
4 Which new built-in effect can be used to automatically balance dialogue levels in clips
or tracks?
a) Dialogue Balancer
b) Levelinantor
c) Magic Meter
d) Dialogue Leveler
2 True. You can use common text-editing shortcuts to cut, copy, and paste clips in the
timeline: Command-X (macOS) or Ctrl-X (Windows) to cut, Command-C (macOS) or
Ctrl-C (Windows) to copy, and Command-V (macOS) or Ctrl-V (Windows) to paste.
3 a. Optimal dialogue levels (between -15 dB and -10 dB) appear in the yellow color range
on the track meters and mixer.
4 d. Dialogue Leveler
Repairing
and Replacing
Unwanted Sounds
Have you ever heard the saying, Time
“We’ll fix it in post”? Well, now it’s time This lesson takes approximately
to make good on that promise. Many 50 minutes to complete.
better to fix them sooner rather Filling Gaps with Room Tone 264
than later. As the dialogue editor, or More Room Tone Please! 273
all‑purpose sound editor, it’s up to you Lesson Review 275
to find and fix the issues in your tracks
before you pass the project on for
mixing. Whether you need to remove
noise, replace words, tame sibilance,
or patch gaping holes, sooner or later
your dialogue tracks will need one or
all of these common repair techniques.
In this lesson and Lesson 7, “Advanced Dialogue Repair,” you’ll work with many of Fairlight’s
dialogue triage tools to find and fix a wide range of problems. As you will soon discover,
sound issues are cumulative, and what might seem insignificant now will only amplify and
haunt you later when the dialogue tracks are processed and enhanced in the mix.
Chances are, if you’re new to dialogue editing, problems lurk in those tracks that you
never thought to look for or deal with until now. Rest assured, by the time you finish with
this set of dialogue repair lessons, you’ll be armed with a solid understanding of dialogue
track trouble‑shooting and which Fairlight tools you’ll need to fix issues that arise in your
own projects.
NOTE The exercises in this lesson build on the tools and skills that you learned
in previous lessons. If you skipped ahead to this lesson, you might need to review
the previous two lessons as a guide to skills and tools already covered.
In this lesson, you’ll use basic and advanced editing tools to step through common real-
world dialogue issues and learn how to fix them. Let’s start by opening the first timeline
and looking at the to-do list in the Markers index.
This is a completed version of the timeline you worked on in the previous lesson.
You can see the spotting list of elements to repair, fix, or replace in this timeline.
4 Double-click the icon for the purple marker, titled “Plosive,” to move the playhead
to that marker.
5 Hide the Index. Hide the mixer and media pool if necessary.
The timeline is ready for action, and you have a road map in the marker index to help
you navigate from one issue to the next along the way.
NOTE The Focus mode multi-tool behavior combines many of the selection,
editing, and playback features that you’re already familiar with so that you
can continue working as you have, without the need for switching tools or
selection modes.
NOTE The Focus mode multi-tool includes the Selection tool (I-beam cursor),
the Grabber tool (hand cursor), and the Trim tool (various trim arrow cursors),
depending on the cursor position.
The secret to mastering the Focus mode multi-tool is to first learn how it changes based
on where and how you click. Another consideration is whether the playhead is moving.
When stationary, playback will always start at the new edit selection whenever you press
the Spacebar. So, you can click anywhere in the timeline and instantly preview the audio
from that point without having to move the playhead. During playback, the multi-tool is
completely uncoupled from the playhead, so you can continue editing while listening to
playback or even while recording.
In the next series of exercises, you’ll explore some of the nuances of the Focus mode
multi-tool and additional Fairlight functionality available in Focus mode so that you’ll be
ready to use it in the next section.
1 Click the Focus Mode button to change the pointer to the Focus mode.
The selection point is indicated by a flashing vertical white line and the selection tool
is the I-beam cursor. Notice that the playhead only shows in the timeline ruler directly
above the selection point.
3 Press the Spacebar to start playback from the selection point. Stop playback and start
again to see that it restarts from the selection point just like the stop and play again
feature that you used in Lesson 1.
4 Continue playback and click another empty space to set a new selection point. Press
the Spacebar twice to stop the current playback and start from the new position.
Stop playback.
5 Move the pointer over the upper half of the first clip in the A1 track and click to
set a selection point. Then zoom in horizontally to the timeline so you can clearly
see the clip.
6 Drag the pointer over the upper half of the clip to drag a range.
8 Click anywhere in the upper half of the clip to clear the selection range.
9 Double-click the upper half to mark the entire clip. Click again to deselect the clip.
As you can see, clicking the upper half of a clip with the multi-tool gives you options to
select a specific frame, range, or the whole clip.
10 Move the pointer over the lower half of the clip to change the cursor to the Grabber
tool (hand cursor).
The Grabber tool can be used for selecting and moving clips in the timeline.
11 Click the lower half once with the Grabber tool to select and mark the entire clip.
Whenever an entire clip is selected, the playhead moves to the head of the clip, which
is also where playback will start if you press the Spacebar.
12 Press the Spacebar to start playback from the beginning of the selected clip. After a
few seconds, press the Spacebar to stop playback.
Now that you understand the difference between clicking the upper or lower half
of a clip, you’ll continue working with the same clip as you use the multi-tool for
trimming a clip.
1 If necessary, show the viewer and position it somewhere easy to see while you
manipulate clips in the upper two tracks of the timeline.
2 In the A1 track, click anywhere on the upper half of the first orange clip to set a new
edit selection point.
The viewer updates accordingly with the newly selected frame, and the selection point
is clearly marked by the red playhead in the timeline ruler.
3 Drag the pointer in the ruler above the orange clip to scrub through the clip. Notice
that the full vertical playhead appears while you drag the ruler. Stop when Emiliana’s
eyes, brows, and partial forehead are visible in the viewer.
4 Press the Spacebar and play the clip. When finished, press the Spacebar again to stop.
The selection point is independent of the playhead, so playback always starts at the
selection point and returns to the selection point when you stop playback.
5 Click the A1 track header to deselect the track and selection. Drag the playhead
forward in the ruler.
The arrow in the timeline ruler still marks the position of the most recent edit selection
and will continue to control playback until you set a new edit selection. If you want to
play forward or backward from the playhead position instead of the edit selection, you
can use the J and L keys. JKL key navigation works in Focus mode to offer expanded
navigational options beyond that of the Spacebar. The difference is that J and L will
move the playhead forward or backward from its current position, while K (stop)
returns the playhead to the selection point.
6 Start playback with the L key. Press K to stop and return to the edit selection point.
Next, let’s use the live preview in the viewer to determine the Out point of a
selection range.
7 Drag a range in the upper half of the clip that starts near the beginning of the clip
and ends when Emiliana’s face is in frame. As you drag the range, use the viewer
as a guide.
9 Drag the green marker toward the right to the next clip and continue dragging until
Philip (in doorway) looks toward the right.
NOTE Moving markers will always update the viewer, even in standard Pointer
mode or Range mode.
Finally, you’ll move a clip. Remember that to select and drag an entire clip, you need to
drag from the lower half of the clip.
10 Drag the first yellow clip in the A2 track toward the left until you can see both of
Emiliana’s hands onscreen. The live preview updates as you drag to show the relative
position of the clip’s In point (head) as it moves.
Now that you’re familiar with the multi-tool, it’s time to put it to work to repair and replace
unwanted sounds in your dialogue tracks.
NOTE These examples used random selections and movements to illustrate the
Edit Selection tool and live preview in the viewer. In the subsequent exercises, you’ll
discover for yourself how useful live preview can be for making precision selections
based on visual cues.
plosives
For this example, the first set of keyframes is already in front of the plosive. All you
need to do is add another pair.
2 Option-click the volume overlay to place a pair of keyframes just to the right of
the plosive.
Your goal is to reduce the height of the plosive by at least a third without
compromising the inflection and natural sound of the speech.
4 Drag an edit selection range that includes the entire second half of the clip.
5 Play the selection and listen to it while watching the meter in the track header.
The volume levels for most of the clip are in the yellow range, as they should be for a
balanced dialogue clip. However, one syllable at the end peaks in the red. That red in
the meter is a signal that you probably have another plosive. Let’s reduce it.
7 Drag a range selection for the second half of the clip. Start looped playback and watch
the track meter. Lower the plosives until they no longer push the meter into red.
That’s all there is to plosives. Find them, fix them...all good. And as you can see and hear,
by carefully lowering the plosives, the clip still retains plenty of dynamic range between its
highest and lowest levels.
As an efficient dialogue editor, you’ll get in the habit of tackling plosives as you balance
your dialogue tracks. If a vocal scream or another sound needs to jump out, let it!
Otherwise, you can retain the impact of the speech while lowering just the levels of
individual, over-enthusiastic syllables.
In this exercise, you’ll find and remove two noises using three different methods of
extraction: dragging a selection range and using transients and shortcuts to create and
delete a range between spoken dialogue. You have already worked with some of these
tools in previous lessons, so the steps you’ll follow here will utilize many of your new skills
to perform the tasks at hand.
3 Press Shift-Down Arrow as many times as necessary to jump to the last red marker.
4 Use the zoom sliders or keyboard shortcuts to zoom in to the last clip in the A1 track.
5 Click the lower half of the clip to mark it and play the clip once. If you don’t hear
anything out of place, increase the volume level of the clip and listen to it again.
Even on spaceship sets, the sounds of helicopters, motorcycles, airplanes, and sirens
can contaminate a recording. In this case, a distant siren sound can be heard between
Emiliana’s lines. You might think that it’s barely perceivable and will eventually be
covered up by sound effects and music. Maybe...But because those other audio
choices are up to the director, it’s always best to hand over clean dialogue tracks that
play seamlessly. Plus, this happens to occur in a very intimate scene with just two
people talking in a room. No conveniently distracting sound effects sources would be
logical in that context. In fact, the director may choose to let the scene play out with
sparse, if any, musical underscoring. When you aren’t sure whether you can safely leave
a sound in your dialogue tracks, here is a rule to live by: “When in doubt, cut it out!”
Keep in mind that anytime you remove the audible room ambiance between words,
you’ll later have to replace it with room sound in a separate track. So, let’s remove the
siren and the subsequent room sound that precedes it.
6 Raise the clip’s volume curve as much as necessary to clearly hear the room and siren
sound between Emiliana’s words.
7 Using the waveform as a guide, move the playhead just before Emiliana’s first spoken
word in the last clip. (Hint: red marker.)
With the Focus mode multi-tool, you can scrub the playhead over any clip by holding
Shift-Command (macOS) or Shift-Ctrl (Windows) while you drag the pointer over the
clip. As a bonus, Shift-Command scrubbing the multi-tool temporarily solo’s the clip’s
track, so you will hear only the clip that you are scrubbing. Let’s try it on Emiliana’s clip.
To extend the edit selection to the beginning of the clip, let’s use the right-click
shortcut menu.
10 Right-click the empty space below the clip and choose Extend Edit Selection >
To Previous Edit or press Shift-Command-L (macOS) or Shift-Ctrl-L (Windows).
Just like that, the first siren is gone. Next, you’ll use the Range Selection tool to remove
the siren before Emiliana’s second phrases in this clip.
NOTE The Extend Edit Selection submenu includes the following options:
Previous Edit, Next Edit, Previous Track, and Next Track. If you look at your
computer keyboard, you’ll see that the shortcuts for these functions are
grouped together on the right side of the keyboard with the L, ‘, P, and ; keys.
The Previous and Next Edit are determined by the active Navigation options in
the Timeline Options Menu.
12 Shift-Command scrub the playhead back and forth over the section between
Emiliana’s phrases.
You probably heard a noise in the middle (visible as a small spike in the waveform)
followed by the slow return of the distant siren.
Let’s create a selection that includes both the noise and the siren. The trick to this method
is not to worry about getting it perfect. Just select as best you can to delete the unwanted
sound. You can then trim the heads and tails surrounding the gap, as necessary.
13 Drag a selection range from just before the noise to just before she speaks. Press Delete.
Now that both sirens are removed, you can return the clips to their previous volume
levels. This is a good opportunity to apply clip normalization.
14 Select both of the remaining orange clips. Right-click one of the selected clips and
choose Normalize Audio Levels.
16 Play the last two clips in the A1 track to hear how your edits sound. If you accidentally
clipped off any of Emiliana’s words, trim the heads or tails of the clips to recover the
full words.
Emiliana’s words in her last section of dialogue should now be free of distraction.
In this exercise, you’ll identify the clothing crackles in a clip. Then, you’ll open another
version of the timeline to see how the crackles were tamed with keyframes. Later, at the
end of this lesson, you’ll have the opportunity to perform your own keyframe de-crackling
to the scene.
1 Go to the first red marker titled “Decrease crackling clothes.” Show the viewer and
place it in the lower third of the screen. Zoom in on the clip in the A2 track.
Can you hear the crackles? If you can hear it, chances are the audience will too,
especially in a quiet theater with powerful speakers.
As you can see, the clip already includes some keyframes applied while balancing the
clip levels. Unfortunately, while turning up Philip’s dialogue, the clothing crackles were
also intensified, so now his jumpsuit sounds like it’s made of potato chip bags.
4 If necessary, go to the first red marker. Zoom in on the clip in the A2 track.
Whew! That’s much better. The distracting crackles have been reduced, and Philip is
breathing normally in his performance. But you might have already discovered just one
major issue that remains. A big, fat crackle occurs right at the end of Philip’s crucial line.
If you already noticed the aforementioned dialogue defect and were wondering how you
might tackle it, you have the aural instincts of a dialogue editor!
In this exercise, you’ll employ new Fairlight audio editing features to drag, drop, and
finesse the replacement dialogue in the track.
1 Show the media pool bin list. Click the Icon View button to view the bin contents in
icon view.
2 In the Hyperlight Audio bin, select the Files for Repair and Replace bin.
You can now see more of the clip’s waveform in the preview player.
6 Change the Zoom dropdown menu to 30x to get a better view of the dialogue line you
want to mark.
7 Use the JKL keys to move the playhead just before the line, “You died,” and press I to
mark an In point. Move the playhead to the end of the line, and press O to mark an
Out point.
TIP When marking words or phrases, mark as close to the words as possible
for easier syncing in the timeline. You can always extend the head or tail of the
clip, if necessary, once it is in the timeline.
Did you notice that the outtakes version of the line is clean and clear, without any
annoying clothing crackles? All you need to do is prepare the timeline for the new clip.
To try using this feature, let’s first change the timeline editing mode.
Next, to simplify this editing process, let’s edit the new clip to the A1 track, so you
can move it down to overlap the original clip in the A2 track. For this exercise, use the
Focus mode multi-tool.
3 Scrub the playhead to the end of the phrase, “You died,” and and click an edit selection
point to use as a guide.
4 Select the A1 track, if necessary. Notice that the edit selection point moves up to the
selected track. Turn off Snapping (magnet icon) so you can freely align the new clip in
the timeline. If necessary, hide video tracks in the Timeline View Options menu.
5 Drag the marked clip from the media pool preview player to the A1 track, but don’t
release the mouse button.
6 Drag the new clip toward the right until the tail of the clip aligns with the end of the
waveform (just before the edit point).
The clip is in place, and because it’s on a separate track, you can hear both versions of
Philip’s line at the same time during playback. Let’s start by marking the clip, so you
can initiate looped playback. Also, the clip you added is already selected, so you can
nudge it to the left or right to sync the clips.
8 Start looped playback and listen to Philip’s line. The sync should be pretty close. If the
clips are noticeably out of sync, press the . (period) and , (comma) keys to nudge the
clip left or right one frame at a time until the clips sound in sync.
9 In the new clip, drag up on the volume overlay until the waveform amplitude (height) is
about the same as in the original clip.
With the clips in sync, you can now move the clip to the proper track.
10 Right-click the new clip and choose Clip Color > Green, so you can more easily
differentiate the new clip from the previous clip.
11 In the A1 track, select the lower half of the new green clip. Drag the clip down to the
A2 track. Do not release the clip yet.
Before you release the clip, you can see the semitransparent waveform of the
new clip as it overlaps the original clip’s waveform. This is why the clips become
semitransparent when you edit them! This is also the best time to use the Edit
Selection’s Grabber tool to align the waveforms into perfect sync.
NOTE If you’re using Range mode to perform this edit, you can simply use the
Cut shortcut to cut the clip and then select the A2 track and use the JKL keys to
align the semitransparent clip with the playhead before pasting.
14 Choose View > Show Audio Track Layers and play the newly added clip.
The new clip sounds great until it ends when you hear a click from the clip that was
previously in the timeline. No problem; you’ll simply extend the new clip to cover the
click and add a fade while you’re at it.
The new clip worked so well to replace the words with a clean crackle-free recording,
so why not extend the clip a bit more on each side to cover up some of the crackling
clothes as well?
16 Trim the head of the green clip toward the left before the set of five keyframes. Trim
the tail of the green clip toward the right until you don’t hear any crackling after Philip’s
replaced dialogue. Adjust the Fade In as needed.
17 When you are finished, clear the play range and turn off the Show Audio Track Layers
view option.
18 Zoom out until you can see the yellow and green clips in their entirety.
You’ve successfully replaced Philip’s dialogue line from an outtake. However, you might still
find it difficult to focus on the dialogue without being distracted by the fluctuations in the
background sound from clip to clip. Also, a few stray distracting sounds remain to be fixed.
NOTE If you didn’t finish all the previous steps, feel free to open the timeline “6b
Dialogue Repair Finished” now to catch up and continue.
Adding Fades to
Smooth Sound Edits
One of the most effective ways to hide audio edits from the listener’s ears is to add fades
to the head and tail (start and end) of audio clips in the timeline. This technique is very
common for checkerboard dialogue edits. As you already know, manually dragging the
fade handles to apply fades to clips is easy in DaVinci Resolve. However, imagine having
to drag short fades on the head and tail of each dialogue clip in the timeline for an entire
show. We’re talking tens of thousands of clips. That’s a lot of tedious dragging and time!
Instead, you use the Batch Fade window to customize and apply fades to all selected
clips instantly!
In this exercise, you’ll open the Batch Fade Settings window, customize the Fade In and
Fade Out settings, and then apply batch fades to all dialogue clips within a range.
The Batch Fades Settings window is visually self-explanatory and has customizable
controls including fade shape and length for Fade In, Crossfade, and Fade Out
transitions. The Fade Unit dropdown menu in the upper right of the window lets you
choose between Frames or Milliseconds. Often, the fades added to dialogue clips,
often called “micro-fades,” are very short so they don’t interfere with any of the spoken
words within the clips. For this exercise, you’ll create 15-frame fades and apply them
to a range of clips—just to see it work. Then you’ll create “micro-fades” that are only
30 milliseconds and overwrite the previously applied fades.
4 Set the Length for the Fade In and Fade Out to 15 frames. Keep the default linear fade
shape (diagonal line).
5 With the Focus mode multi-tool, Select the A3 ADA TEST VOICE track.
6 Press Command-A (macOS) or Ctrl-A (Windows) to set a range for the entire timeline
that includes only the clips on the selected track.
The Bach Fade Settings window closes, and all the clips in the A3 track have 15-frame
fades. These fades are far too long to be useful on dialogue clips, but they are easy to
see and demonstrate the Batch Fade functionality in the Fairlight page. Now, let’s do it
again with micro-fades to overwrite these exaggerated ones.
NOTE Range selections only affect clips on selected tracks and can be created
with either the Range tool or Focus mode multi-tool.
8 Open the Batch Fades Settings window. Change the Fade Unit to Milliseconds. Set the
length for both Fade In and Fade Out to 30. Check the Overwrite Existing option for
both fades. Select all the clips in the A3 track, if necessary. Click Apply.
Now that you know how to customize and apply batch fades, you can apply them to
one clip, a group of selected clips, or all the dialogue clips at once. Let’s modify the
batch fades one more time and apply them to a selection of clips on different tracks.
10 Open the Batch Fades Settings window. Change the Fade Unit to Frames. Set the
Length for the Fade In and Fade Out to 5. Press Esc (escape) to close the window.
11 With either the Range tool or Focus mode multi-tool, drag a range that includes the
dialogue clips on the first half of the timeline. Do not include the Green clip in the A2
PHILIP track.
Well done! All the selected audio clips have been enhanced with five-frame fades. There’s
just one problem… You’ve inadvertently placed a fade out next to a fade in on two adjacent
non-dialogue clips, thus causing a potentially noticeable drop in level. That can be fixed by
using a crossfade instead.
3 With the Focus mode multi-tool, click the lower half of the first clip to select it, and
then Shift-click the second clip.
4 Drag the clip gain line upward on either of selected clips to increase the level of both at
the same time.
NOTE When working with selected clips in a range, any clip gain changes you
make to one clip will affect them all relatively. So, a 5 dB increase will raise the
gain line for all the clips by 5 dB from whatever their individual levels were prior
to the range selection.
5 Play the selection to hear where the level dips between the first and second clips.
Chances are, you could hear the obvious and potentially distracting transition between
clips because of the use of fades. Next, you’ll clear the fades and use a crossfade
instead. You could drag the Fade handles to remove the fades, and then add a
crossfade. Or, you can just add a crossfade, and it will override the initial fades with a
single click. Let’s do that. You could use any of the tools for this maneuver, but let’s use
the Focus mode multi-tool.
7 Play the track and listen to the seamless transition between clips. Double-click the clip
gain line on the two selected clips to reset them.
NOTE Crossfades can be edited in the timeline, including the following edits:
drag the edges to resize, drag the lower half to reposition, drag the handle in
the middle to change the curve, or select and delete the crossfade. Another
option for creating a crossfade is to draw a range between two clips, and then
choose Trim > Crossfade Selection. You can also apply batch crossfades to a
range of clips simultaneously.
You have successfully worked with batch fades and crossfades between clips. Next, you’ll
patch some gaps in the tracks with room tone.
You might think, why not just cover up the silence with tracks of sound effects and
ambience? But that’s like throwing an artificial shadow across a character’s face to hide the
fact that you didn’t color correct the flesh tones. Remember, the dialogue tracks are the
most important elements in your soundtrack, so you should treat them as such.
The acoustic solution to filling the gaps and making dialogue sound seamless is room
tone, which is the “silence” recorded on the set at the end of a scene to match the “silence”
between spoken words. As those quotation marks suggest, room tone silence isn’t really
silent. Even soundstages designed for optimal sound recording have some ambient sound.
The room tone is usually recorded at the end of each scene by the location sound mixer
who recorded the original dialogue. However, because you lack a recorded room tone
for your current scene, you’ll need to find some room tone in the existing dialogue clips.
Once you find a usable piece of room tone, you can either copy and paste it beneath each
gap to patch the holes or stitch it together to make a long bed of room tone that you can
apply consistently throughout the track. For this lesson, you’ll use the latter method, which
requires some new skills.
NOTE Patching room tone clips to plug gaps between dialogue clips is as easy as
applying a bandage to a wound. You just need to cover the gap (from a separate
track of course) and extend the clip a little on each side to overlap and apply fades
to the overlapping edges to hide the edits.
3 Mark the clip and start looped playback. After a few repetitions, stop playback.
This is the Room Tone clip you will stitch together to make a longer bed of sound. Looped
playback isn’t a great indicator of how it will play if placed back-to-back in a track. You’ll get
a chance to try that shortly.
In this exercise, you’ll perform two easy methods of stitching together a bed of room tone
based on the clip selection in the A4 ROOM track. First, you’ll select and duplicate the clip
back to back several times to hear how it sounds repeated over and over. Then you’ll try a
front/back fill where you reverse every other clip for a more seamless playback experience.
2 Select the clip, if necessary, and choose Edit > Duplicate Selection or press Shift-
Command-D (macOS), Shift-Ctrl-D (Windows).
3 Repeat step 2 until you have stitched together six identical clips back to back in
the A4 track.
Were you able to hear each time the clips repeated? If so, the audience probably will
too. If your stitched clips play back seamlessly, congratulations, it’s a lucky break.
Sometimes, reversing every other clip will make the repetition between clips less
discernable. With DaVinci Resolve 18, you can reverse an audio clip in the right-click
contextual menu.
Let’s make another set of six clips to test reversing some of the clips.
7 In the first set of clips in the A4 track, select the second clip. Then Command-click
(macOS) or Ctrl-click (Windows) the fourth and sixth clips.
9 Clear the selection and play the clips from the beginning.
Hopefully, you just witnessed the magic of the front/back fill technique to create
seamless room tone beds. Of course, so far, we have created only 6 seconds of
stitched room tone. Time for some additional duplication and stitching.
Before moving on, let’s also try applying batch crossfades to the second set of clips
and then listen to both sets for comparison.
11 Open the Batch Fades Settings window. Click the Reset button in the upper-right
corner of the window.
What did you think? In this example, the short crossfades don’t sound as seamless as the
front/back fill. Feel free to experiment with different crossfade lengths and settings
to get a better result later. For now, let’s make a bed out of the first set of clips.
You’ve finished stitching the clips. Let’s reset the track levels.
18 Select all the clips in the A4 track, if necessary. Right-click any of the selected clips and
choose > Remove Attributes. Check the Volume attribute and then click Apply. Deselect
the clips.
1 In the media pool, select the Files for Repair and Replace bin.
2 In the A4 track, select the first clip, and then Shift-select the last clip to mark a range
for all the clips.
The timecode display indicates that the duration of the play range is a little over a
minute. That is a respectable length of room tone to work with. The trouble is, it’s still
in little pieces. Your goal is to create one long and seamless piece of room tone based
on the clips in the A4 track.
Voila! A new bounced clip the length of the play range appears above the other clips in
the selected track. The source clip is also visible in the selected bin in the media pool.
The bounced clip’s name starts with the track name ROOM, continues with “bounce” to
indicate that it is a bounced file, and is followed by the current date.
At this point, you can keep the original stitched clips in the timeline beneath the
bounced layer, disable them, or delete them from the track. There is even a new
timeline menu option to Flatten Audio Track layers. For educational purposes, and to
preserve any sentimental attachment you might have to your first stitched patchwork
room tone track, let’s keep it and make a new version of the timeline with the stitched
clips deleted to finish the job.
6 In the media pool Lesson 06 bin, right-click your current timeline and choose >
Duplicate Timeline.
7 Name the duplicate timeline 6 Dialogue with Room Tone and open that version of the
timeline, if necessary.
Now you can flatten the audio track layers of the selected track. You can do this
anytime, even if the audio track layers aren’t showing.
8 Select the A4 track, if necessary, and then choose Timeline > Flatten Audio
Track Layers.
9 Choose View > Show Audio Track Layers to hide the audio track layers.
Now that you have one solid piece of room tone to work with, you can direct your
collective skills toward finishing the ROOM track.
NOTE The Fairlight Audio Editor includes two options for automatically generating
room tone or room ambience to fill a selected range. These options are Fill and
Back/Front Fill and generate a new bounced clip for the duration of a marked
range, based on the audio currently in the clipboard. You can learn more about
working with the Fairlight Audio Editor to control the Fairlight page in the
DaVinci Resolve Reference Manual available under the Help menu.
When you have the clips in position, you’ll need to set the volume level based on the room
sound already in the scene. Using the mixer and Philip’s first dialogue clip as guides,
determine an appropriate volume level for the room tone before his first line. (Hint: Solo
Philip’s track, set a play range for the room sound in Philip’s clip, and in the mixer, watch
the meter for the A2 track to determine the average level.)
When you know the target volume level for the room tone, set the room tone of all the
copied clips to match that level. (If you aren’t sure what level to aim for, try using -45 dB in
the mixer as a guide.) Clip Normalization will not work here because it is based on peaks
and goes only as low as -30.
Once you finish building out the room tone track, listen to the timeline to hear how it
sounds overall. Feel free to add short fades to the beginning and end of the dialogue clips.
At this point, any time you hear something distracting that needs fixing in the dialogue
tracks, fix it! Pay special attention to sounds that could be cut out or trimmed away.
You’ve completed the dialogue editing and clean-up for this specific scene. Whether you
found the experience fun, challenging, or tedious, it’s all a necessary part of creating
professional-sounding dialogue tracks.
Coming up next, you’ll explore additional tools,
plug-ins, and techniques for troubleshooting and enhancing dialogue tracks.
NOTE If you didn’t complete all the steps and would like to hear an example of the
finished scene, open and play the timeline, “6d Dialogue Tracks Finished.”
a) Metadata
b) Media pool
d) Index
2 Which tool allows you to drag a range in the timeline? (Choose all that apply.)
a) Selection tool
c) Razor tool
b) Ex-plosive plug-in
c) De-Esser plug-in
d) Gate
e) Keyframes
4 What tool is useful for selecting and deleting specific portions of a clip?
a) Edit Selection tool
b) Overwrite tool
c) Lift tool
5 True or false? To create a seamless track of room tone, you can record tone from
the built-in Oscillator.
6 True or false? Loop Jog uses In and Out points in the timeline to loop playback.
2 b, d
3 e
4 a
5 False
6 False
Advanced
Dialogue Repair
Removing Clicks at
the Sample Level 318
1 Open the timeline, 7 Repairs and Fairlight FX. Close all open panels including
the viewer.
This timeline includes six clips in five separate tracks. Each clip has temporarily been
disabled. Also, tracks A2 through A5 contain versions of the same clip.
A clear background hum contaminates the entire clip. This problem is fairly common and
can have several causes, including poor audio cable shielding, incorrect power grounding,
or when haphazardly overlapping audio cables and power cables on the set. This hum
can’t be removed with keyframes or editing. Instead, you’ll employ one of Resolve’s
powerful new Fairlight FX repair plug-ins.
NOTE Power cables and audio cables can coexist when recording as long as
they run parallel to each other and cross at perpendicular angles.
In Lesson 1, you applied an Echo plug-in to a music clip. In the next series of exercises,
you’ll work with three powerful Fairlight FX repair plug-ins, including the De-Hummer,
Noise Reduction, and the De-Esser. Plug-ins can be applied to clips, tracks, or busses. You’ll
work more with track- and bus-level FX and processing in Lesson Lesson 10, “Sweetening
the Mix.” For now, you’ll focus on applying plug-ins to specific clips.
The De-Hummer dialog opens with controls to specify the type of hum in the clip.
You don’t have to be a hum expert to determine the frequency. Chances are, it’s a
powerline hum. If so, it will have a 60-Hz frequency in America or 50 Hz in other parts
of the world.
The graph display across the bottom displays low frequencies to the left and high
frequencies to the right. The purple notches in the graph indicate which frequencies
are currently reduced. The default De-Hummer setting is for a fundamental frequency
of 50 Hz followed by harmonic frequencies. Harmonics are naturally occurring
multiples of the fundamental frequency, often called overtones. These harmonic
frequencies give sound it’s added color and character. However, when it comes to
annoying hum contaminating your dialogue, you’ll probably want to eliminate the
fundamental and the harmonic frequencies. Luckily, the Fairlight FX De-Hummer does
most of the work for you.
Notice that the controls in the lower left of the De-Hummer include presets for 50 Hz
and 60 Hz.
3 In the Frequency section, click the 60 Hz button to set the De-Hummer to notch out
the 60 Hz frequency.
NOTE When you’re working with a hum that is not at 50 Hz or 60 Hz, you can
click the Variable setting and adjust the Frequency dial until you reduce the
correct frequency.
5 While listening to playback, drag the Amount dial to increase the amount of the
frequency that is removed. Drag until you no longer hear the hum.
You can control the slope of the harmonics, also referred to as the bias, with the Slope
dial. Depending on the dominant overtones, you might need to use the Slope dial to
shift the slope toward higher frequencies. You can also tweak the slope to remove
the harmonics while retaining the fundamental frequency.
Each Fairlight FX plug-in includes a Bypass switch to turn a plug-in off or on. Bypass
switches are a quick way to hear a clip with and without the plug-in applied. Let’s
use the Bypass switch to toggle off and on the plug-in to hear the before and after
versions of the clip. The Bypass switch is red when the filter is turned on.
7 In the upper-left corner of the De-Hummer dialog, click the red Bypass switch to turn
the plug-in off. Continue playback and then turn the plug-in on.
8 When you’re finished removing the hum, stop playback. Close the De-Hummer dialog.
Now that you’ve seen and heard the power of a single Fairlight FX De-Hummer plug-in,
let’s try a more challenging clip.
1 Select the second clip in the A1 track, and press D to enable the clip.
At a glance, you can clearly see that something is wrong with this waveform. Any
time you see a really thick center in a waveform, it indicates a constant and fairly
loud sound.
TIP If you ever encounter a noisy-looking clip like this in your own projects,
protect your ears before listening. In other words, DIM playback or move your
headphones from directly over your ears before you listen.
3 In the Fairlight FX list, drag the De-Hummer plug-in onto the second clip in the
A1 track.
4 In the Frequency section, click the 60 Hz button to set the De-Hummer to notch out
the 60 Hz frequency.
5 Mark the clip and start looped playback. While listening to playback, drag the Amount
dial to increase the amount of the frequency that is removed. Stop playback.
Unfortunately, increasing the Amount dial to the full -30 is not enough.
If you look closely at the top of the De-Hummer dialog, you’ll see (2 of 2) after the clip
name in the dialog header, indicating that the dialog is for the second of two plug-ins
in order of processing.
7 Drag the header at the top of the (2 of 2) De-Hummer plug-in toward the right to move
it away from the first De-Hummer dialog. Position the plug-in dialogs so that you can
easily see them both during playback.
9 Start looped playback. Lower the amount on the first De-Hummer to -20.
10 Slowly increase the Amount on the second dialog until the hum is completely gone.
Around -20 should do the trick.
11 When you are satisfied, close both dialogs and stop playback.
Now you have firsthand experience working with Resolve’s powerful De-Hummer plug-in.
Keep in mind this was an extreme example created for this exercise. In most cases, a
hum will be less pronounced and easier to eliminate. The takeaway from this exercise
is that this plug-in is highly effective and easy to apply to your timeline clips as needed.
Reducing Noise
Noise comes in many shapes, sizes, and intensities. Whether it’s music, background
conversation, the roar of a sports car, or purr of a kitten, anything may be considered
noise when it contaminates the clarity of your dialogue tracks.
When applying noise reduction, you can sometimes reduce the noise easily, and sometimes
you need to reduce it incrementally with multiple plug-ins and processes. In this exercise,
you’ll encounter a more tenacious noise than the simple hum you removed in the previous
exercise. This time, you’ll use a new plug-in with the goal of achieving noise reduction. Why
not noise removal? Because in many cases, noise covers a lot of territory and frequencies
and attempting to remove it entirely may strip your dialogue of its tone and texture.
Let’s start by listening to the clip in the A2 track to determine the type and intensity of
the noise.
1 Select the clip in the A2 track and press D to enable the clip.
This clip is one of the outtakes from the voiceover recordings in Lesson 2. The noise
you hear is very common and can be caused by poor connections, damaged cables, or
weak microphone batteries.
Regardless of how the noise “invaded” this recording, it’s there. So, you’ll deal with it
using the Fairlight FX Noise Reduction plug-in in the Effects Library.
4 In the Fairlight FX list, drag the Noise Reduction plug-in onto the clip in the A2 track.
The Noise Reduction dialog opens with a variety of controls, including a graph that
shows the spectral analysis of the frequency (Hz) and the strength (dB) of the signal
during playback. Detection, Smoothing, and Output controls are also present across
the bottom of the dialog.
The Fairlight FX Noise Reduction plug-in is based on spectral subtraction and can be
set to automatically detect noise in selected sections of dialogue or to manually learn a
selected section of noise and then extract that noise print from the signal.
The two mode buttons below the graph are for selecting Manual mode or Auto Speech
mode. Manual mode learns a “noise print” and extracts it from the overall signal. Auto
Speech mode uses powerful algorithms and spectral analysis to detect and extract
speech from the signal, thereby reducing the noise.
Let’s try both methods, starting with the default Manual mode. First, you need to set a
play range to isolate a section of the noise.
6 Click the Learn button to create a noise profile during playback. Start playback of the
noise-only portion of the clip.
7 Click the Learn button again to save the current noise profile.
The learned noise profile is subtracted from the rest of the clip’s signal
during playback.
8 Stop looped playback. Select and mark the entire clip in the A2 track.
9 In the Inspector, click the Reset button for the Volume level.
The Volume reset in the Inspector is a handy way to remove all keyframes and
level changes on a clip. The Inspector includes reset buttons for all the different
parameter controls.
10 Increase the clip volume level in the Inspector or clip gain line until the waveform
height matches the clips below (around 6 dB).
11 Start looped playback again to hear the clip with the noise print subtracted. Click the
Bypass button off and on to hear the clip without and with the Noise Reduction plug-in
applied. When you’re finished, stop playback and close the Noise Reduction dialog.
Just like that. The noise is gone. Let’s try it again in Auto Speech mode on the clip in
track A3.
12 Mute the A2 track and select the clip in the A3 Auto Speech Mode track. Press D.
13 In the Effects Library, drag the Noise Reduction plug-in onto the clip in the A3 track.
14 In the Noise Reduction dialog, click the Auto Speech mode control. Start looped playback.
The Attack control is used primarily in Auto Speech mode and controls the duration
of the detection time of the noise profile. A slower attack time (lower value) updates
the noise profile more quickly and is best applied to noise that varies quickly. A faster
attack time (higher value) updates the noise profile more slowly and is better for a
consistent noise, as in this clip.
15 Set a play range around the fifth phrase in the clip. Start playback of the phrase.
16 Drag the Attack dial to the right to increase the attack speed to around
+173 milliseconds.
Changing the attack value helped. If needed, you can always balance the levels of the
individual words using keyframes.
You’ve witnessed the power of Resolve’s Noise Reduction plug-in. In the next exercise,
you’ll apply multiple plug-ins to the same clip to reduce a more prominent noise.
MORE INFO You can find detailed information on each Fairlight FX plug-in and
its specific controls in the DaVinci Resolve 18 manual available in the application’s
Help menu.
At a glance, you can see a fairly strong signal between the dialogue phrases.
This usually suggests a steady background sound and is rarely a good thing in a
dialogue clip.
Wait, where is the noise? If you look at the clip in the A4 More Noise track more closely,
you’ll see an fx icon before the clip’s name, which indicates that FX plug-ins have
already been applied to it.
Here, in the Audio Effects panel, you’ll see two Noise Reduction plug-ins applied to the
clip. Effects processing works from the top down, so whichever plug-in is highest in
the list is applied first. The second plug-in is applied to the results of the first plug-in,
and so on.
4 In the Inspector, click the Bypass buttons on both Noise Reduction plug-ins to turn
them off. Continue playback.
5 Click the Custom button for the first Noise Reduction plug-in to show the plug-in’s
control dialog.
6 Turn on the plug-in and listen to the difference it makes in the noise level.
7 Show the controls dialog for the second plug-in and turn it on.
9 Start playback. In the Inspector, select the Noise Only checkbox for the first Noise
Reduction plug-in.
The corresponding “Listen to noise only” checkbox on the Noise Reduction window is
automatically selected.
You now hear only the part of the signal that is being removed, which includes some of
the dialogue frequencies. If you can clearly make out vocal patterns or words in Noise
Only mode, those same frequencies and tonal elements are being stripped from the
dialogue. When finessing noise reduction controls, it’s always a good idea to listen to
noise reduction in Noise Only mode to make sure you aren’t excessively diminishing
the vocals. Remember, it may be better to stack multiple noise reduction filters instead
of being too heavy-handed with just one.
10 Deselect the “Listen to noise only” checkbox on the Noise Reduction window. Turn on
the second noise reduction plug-in.
The more you work with noise reduction, the easier it gets. The goal in this lesson
is to understand which repair plug-ins are available in DaVinci Resolve 18, whether
they work alone or in combination in Manual or Auto Speech modes.
Next, you’ll work with the last repair plug-in to deal with another very common
dialogue problem.
Identifying Sibilance
Two of the most common issues that occur in dialogue recordings are plosives and
excessive sibilance. You already know how to spot and tame plosives using keyframes.
Vocal sibilance, on the other hand, is generated by breathy, consonant sounds such as
S, T, Z, Sh, and Ch, and results in an unpleasant tonal harshness in the upper midrange
frequencies between 4 kHz and 8 kHz.
The type of microphone used for recording and the proximity of the microphone to the
subject contribute to sibilance, as well as the amount of air movement and power required
to produce sibilant sounds. Phrases like “excessive esses” and “she sells seashells by the
seashore” are sure to increase the vocal sibilance levels in nearly any recording.
Some spirited debate continues among dialogue mixers regarding when the best time is to
de-ess dialogue. Some believe it should be after compression and during the mixing stage.
Others believe all equalization should be done before compression, and so the debate
continues. While dialogue mixers may disagree on the order and methods of processing
and equalizing tracks, they have the same singular goal in mind: to deliver the best-
sounding dialogue tracks.
In the next few exercises, you’ll cross the boundary between dialogue editing and dialogue
mixing to explore sibilance and the ever-present esses. Let’s start by listening to some
sibilant-rich dialogue.
1 Unmute the A2 track. Make sure that all the other tracks are muted.
2 Mark a play range around the fifth phrase in the A2 track, “I cannot explain this
discrepancy.”
3 Play the phrase several times to determine if you can hear the sibilance.
If you are new to dialogue editing and mixing, the first thing you need to do is
recognize excessive sibilance. Once you know what you’re listening for, you’ll notice it
everywhere, and more importantly, you’ll know how to reduce it in your own projects.
The best way to pinpoint irritating frequencies is to boost and sweep a bell curve
to find them. Let’s use the 4-band parametric equalizer in the Inspector to find and
increase the sibilant range to more easily identify it.
Frequency
Gain
Graphical EQ controls
Numeric controls
In the graphical EQ controls area, you can see and manipulate the frequency graph.
The numerical controls at the bottom of the equalizer give you more precise control
over the frequencies and gain of each band.
For now, let’s use the Band 3 control, which is in the same frequency range as
the sibilance.
6 Click the band filter type dropdown menu below the Band 3 button to see the types of
frequency filters available for bands 2 and 3.
Low-shelf filter
Bell cure filter
Notch filter
High-shelf filter
High- and low-shelf filters are similar to high- and low-pass filters, but the shelf
filters attenuate (lower) unwanted frequencies, whereas the pass filters completely
block unwanted frequencies. You can apply bell-curve filters to boost or attenuate
frequencies anywhere on the graph and narrow or widen their range of influence
using the Q control. A notch filter is used for completely removing, or cutting,
specific frequencies.
For this exercise, you’ll sweep a midrange frequency bell curve in Band 3 to boost
or attenuate frequencies during playback and isolate the talent’s voice. Let’s start
by turning off all the bands except for Band 3. Then, you’ll sweep the bell curve to
evaluate the radio dispatcher’s recorded voice.
NOTE During playback, dragging the graphical controls left or right through
the EQ graph is referred to as sweeping and is the most effective way to hear
changes and identify areas that need work.
NOTE Clip equalization in the Fairlight page adjusts the tonal quality of
individual clips, whereas track equalization in the mixer adjusts the entire track.
8 Start looped playback. During looped playback, drag the Band 3 bell curve handle up
and sweep left and right between 4K and 8K. Listen for the unpleasant range where
the esses are most irritating (between 7K and 8K ). Continue playback and drag the
bell curve down in the same position to reduce that frequency range.
9 When you’re finished, stop playback, and turn off the Equalizer.
Now that you’re familiar with the sound of excessive sibilance and where to find it in
this section of the dialogue, let’s use the De-Esser Fairlight FX plug-in to reduce it.
1 In the Effects Library, drag the De-Esser plug-in onto the clip in the A2 track.
2 Start looped playback. Drag the handle down as far as it goes and then sweep the
notch filter back and forth between 6K and 8K.
3 Under the Frequency Range controls, click the bell-curve filter button to reduce a
wider range of frequencies.
Once again, as with the 4-band EQ, too much of the vocal tone and character is
diminished along with the esses. Remember, less is more. Only reduce what is
necessary. Later, you can increase the amount of filtering or add another De-Esser in
the effects chain to improve the results. You’ll know your De-Esser plug-in is set too
high if you hear a dialogue lisp in which the T and S sounds are no longer intelligible.
4 Under the range controls, click the Notch button to return to the notched frequency
range. Slowly raise the handle toward the 0 dB line to decrease the amount of
reduction to around 50.3, or -10 dB on the graph.
Ideally, back off the filtering as much as you can to reduce the sibilance while retaining
the vocal quality.
Notice that no matter how much you reduce the targeted frequencies, the output level
remains the same. Remember, de-essers are actually specialized compressors—and
in this case, the built-in compression under the hood ensures that your output volume
remains intact.
You may think this is such a minor improvement, why bother? It’s for the same reason
that you fix the flesh tones during color correction. The results may seem minor in this
example, but sibilance is cumulative and becomes more pronounced the farther along
you go in dialogue mixing.
This clip has two working plug-ins: the Noise Reduction and De-Esser. They should
work well for the entire clip.
6 Close the De-Esser dialog. Set a play range for the entire clip and start playback to
hear the clip with both the Noise Reduction and De-Esser plug-ins applied. When
you’re finished, stop playback.
7 Mute the A2 track. Hide the Inspector and the Effects Library.
As you can see and hear, the Fairlight FX repair plug-ins work well independently or
in combination to improve the sound of your dialogue.
Dynamic range also comes into consideration when performing noise reduction because the
range between the noise level and the dialogue levels can affect how much noise reduction
you can apply. The signal-to-noise ratio (SNR) is a mathematical calculation based on the
dynamic range between the noise level and the dialogue level and is expressed in decibels
(dB). For example, if your voiceover track has an SNR value of 50 dB, it is 50 times louder
than the noise in the same track. The higher the SNR value, the better sounding the signal
and less prominent the noise.
1 Select the A5 Dynamics Gate track and enable the clip in the A5 Dynamics Gate track.
4 In the A5 channel strip, double-click the Dynamics controls to open the Dynamics
controls panel.
The Fairlight mixer includes the four most common dynamics processors in one
easy‑to-use panel. The compressor narrows the dynamic range by lowering the
loudest peaks and bringing them closer to the lowest peaks. The expander, in contrast,
enlarges the dynamic range to increase the difference between the loudest and
quietest peaks. The limiter and gate work on opposite ends of the signal to avoid
exceeding a target level (limiter) and to prevent sounds lower than a set threshold
from being heard (gate).
Let’s focus on using the gate to reduce or silence the part of the signal that is below
a given threshold.
The noise is no longer audible, and the voiceover sounds pretty good. The dialogue
sounds processed in a few places, but it’s a start. So, what happened?
In the controls beneath the Gate button, you’ll see that the Threshold is set to the
default level of -35 dB, which means the gain (volume) of any signal that is below -35 dB
is reduced.
7 Watch the Gain Reduction meter during playback. You’ll see that the Gain Reduction
is active between dialogue phrases whenever there is no talking and the signal falls
below the threshold.
The Range control sets the maximum amount of gain reduction applied to the signal
when it falls below the gate threshold.
The graph and Gain Reduction meter show that the signal below the Threshold (-35 dB)
is receiving the highest amount of gain reduction (-60 dB). That’s overkill for this signal.
Gating your low-level signal is very effective. However, it’s best to set the Threshold
as close to the noise level as possible. Otherwise, you will also remove all the breath
sounds and syllables that taper off below the Threshold.
TIP When adjusting audio controls, it’s often easier to start with the controls
set to their extreme levels, either the high or low, and then slowly back them off
or add them during playback until you achieve your goal.
10 During looped playback, adjust the Threshold level to lower it all the way to the left
(-50.0 dB). You’ll hear the background noise again. Then, slowly raise the Threshold
until you no longer hear the noise.
Notice that the graph in the channel strip matches the graph on the Dynamics panel.
All these methods for removing background noise are useful and get easier to use the more
you work with them. Keep in mind that you can apply the Fairlight FX plug-ins individually to
clips or combine up to six per track. While gate processing is available on the track via the
mixer, sometimes you need to combine the noise reduction and gate for the best results.
TIP When a dialogue clip is contaminated with both hum and noise, remove the
hum first, so the noise reduction plug-in can home in on the noise, which is likely
a different frequency range than the hum.
To keep things moving, and keep you thinking, we’ll provide only some loose guideline
steps. Remember, this is also a timed exercise that should be completed in less than
5 minutes. Let’s get started.
1 In the media pool, select the Additional Footage bin at the bottom of the Master bin
list. This bin contains only one clip, which is the one you will be repairing shortly.
2 Right-click the A001_07081653_C002_v2.mov clip inside the Additional Footage bin and
choose > Create New Timeline Using Selected Clips.
3 In the New Timeline dialog, name the timeline Cooking Clip Audio and then
click Create. Since this clip would likely start on the edit page in editorial, let’s do
that as well.
4 Go to the edit page and play the beginning of the clip and use your ears to troubleshoot.
5 Go to the Fairlight page and expand the track height for a larger view of the
audio track.
As expected, it is a stereo clip with only one usable channel of dialogue, and the
usable dialogue channel is full of noise and hum. With that information…fix it!
The clock is ticking.
If you need a little guidance, feel free to use the bulleted hints below.
— Change the clip’s attributes from Stereo to Mono with only the good dialog channel
exposed. Then change the track to mono.
— Apply the De-Hummer plug-in to the clip. Drag the Amount dial to -30 and sweep
the Frequency dial until the high-pitched hum disappears. If necessary, try
clicking the Listen to Hum Only checkbox to hear only the hum until you find the
target frequency (approximately 101 Hz). Adjust the Slope to see if the hum is
more prominent in the harmonic frequencies. Deselect Listen to Hum only. Then
back off on the Amount as much as you can while still eliminating the sound
(approximately -20 dB).
— Apply the Noise Reduction plug-in and try either the Auto Speech mode or Manual
mode using the Learn button and a range to make a noise print.
— Experiment with different settings in the plug-ins to refine the sound, such as
adjusting the Slope in the De-Hummer while listening to Jamie’s voice to find a
position where the hum is removed and his voice is less impacted by the notch
filters (about 0.9).
Congratulations! You just completed a real-world dialogue repair job in mere minutes.
If you’d like to see an example of the finished clip, open the timeline, 6 Real World Audio
Repairs Finished.
The first option is to cache your audio clips with plug-ins, and the second option is to
bounce audio clips with plug-ins. The first method “bakes” the plug-in effects in a cache file
and updates the waveform accordingly. This method does not create new media, can easily
be turned on or off while you work, and the cache file automatically updates every time
you change any of the plug-in settings. Bouncing audio clips renders a new piece of media
with the plug-in effects baked in as part of the waveform. Let’s go to the previous timeline
and take a look at both methods.
3 Right-click the first clip in the A1 track and choose Cache Audio Effect.
4 Select the cached clip and open the Inspector. Here you will also see the cache badge
next to the plug-in for the cached clip.
You can still use the bypass switch and open the plug-in settings from the Inspector
to change any of the parameters in the plug-in’s settings window. Now let’s cache and
then bounce the second clip.
5 Right-click the second clip in the A1 track and choose Cache Audio Effect.
As you can see by the cached waveform, the results are nearly identical to the
previous clip.
6 Right-click the second clip in the A1 track and uncheck Cache Audio Effect.
8 Choose View > Show Audio Track Layers to see the rendered clip on the top layer and
the original clip disabled underneath.
Now that you’ve seen how to cache and bounce clips with audio effects, you can apply
these processor-saving techniques to your own projects.
For this exercise, you’ll test-drive the Voice Isolation effect on several examples with
obvious background noise issues. Along the way, you’ll also gain a better understanding of
applying it to a clip versus a track.
As you can see, this timeline includes three tracks, each with different examples for
the Dialogue Leveler. Let’s start with locating the Track FX for A1 in the mixer and
Inspector.
5 Find the Track FX near the top of the mixer and Inspector for the selected track.
Yikes.
7 Select the A1 track, if necessary, to ensure that the track and not a clip within the track
is showing in the Inspector. Enable Voice Isolation in the Inspector.
Enabling a Track FX in the Inspector also enables it in the mixer and vice versa.
It’s like magic! This time, you hear only the dialogue because it has been isolated from
other non-speaking sounds (hence the name).
Now let’s try it on the clip in the A2 track. This clip was recorded at a very low level with
a fan near the microphone. First, you’ll need to increase the clip gain level to hear the
clip. Then apply Voice Isolation to clean up the background noise.
10 In the mixer, enable Voice Isolation on the A2 track. Play the clip in the A2 track again.
Wow, right? Even the clunking of the microphone prior to speaking is eliminated.
Imagine how useful Voice Isolation would be for cleaning up interviews, archives, and
documentary footage recorded in noisy locations.
Next, you’ll try Voice Isolation on a familiar clip contaminated with 60-Hz hum. This
time, you’ll apply Voice Isolation to the individual clip in the A3 track.
NOTE Enabling a Track FX in the mixer will always apply it to the entire track.
To apply a Track FX to a clip, you’ll need to select the clip and enable it from
the Inspector. The Inspector shows Track FX for both the track and the clip
depending on which is selected.
13 Clear the play range and play the clip to hear the results.
The hum is completely gone. All that remains are the human voice sounds, including
a few breaths, tongue clicks, and other natural sounds. Since Voice Isolation is an
effect applied to a clip, it can also be cached or bounced to free up processing if you’re
working with a slower computer.
14 Right-click the clip in the A3 track and choose > Cache Audio Effects from the
contextual menu.
1 Open the 7 Track FX Real World Start timeline. Hide the media pool and Inspector, if
necessary. Show the viewer and mixer.
2 Play some or all of the clip to hear Chef Jamie along with an abundance of
background noise.
This time, instead of using a De-Hummer and Noise Reduction plug-in to clean up the
sound, you’ll apply Voice Isolation.
Voice Isolation worked beautifully with a single click. There’s just one problem. This is
a cooking show, shot on location in a real kitchen. Removing all of the non-speaking
sound has also removed the ambient reality of this location. Time to back off the
amount to reveal some of the background sound.
The Voice Isolation controls window includes an Amount dial to adjust how much Voice
Isolation is applied to the sound. You can reduce the amount to reveal more of the
background sound as needed for a more natural result.
6 Play the clip and slowly reduce the Amount control until you’re happy with the levels of
the background noise and voice. Pay close attention to the end of the clip where Chef
Jamie moves his wok on the stove. You should be able to hear the sound of a pan on
the stove.
7 Add the Meter plug-in to the A1 track. Resize the floating meter, if necessary.
8 In the mixer, enable the Dialogue Leveler and open the Controls window. Arrange
the controls windows in the timeline so they are easy to see while you watch and
listen. Play the second half of the clip while watching the plug-in control windows and
listening to the levels.
The sound is natural and smooth, and the levels stay within the target yellow zone on
the meter! Now play the second half of the clip again and watch the levels without the
Dialogue Leveler.
9 Click the Bypass switch on the Dialogue Leveler to turn it off and play the second half
of the clip. Pay close attention to the sound and levels as Chef Jamie turns away from
or leans toward the lapel microphone. Toggle the Dialogue Leveler off and on during
playback to appreciate the power of the leveler. When you’re finished, stop playback.
Now that you are experienced with cleaning up distracting sounds in dialogue tracks using
tools that come with DaVinci Resolve 18, you’ll be ready for nearly any dialogue challenge
that comes your way on your own projects.
Sample-level editing requires a new set of skills and patience. For starters, you need to
abandon most of the shortcuts you’ve been using for navigation. You’ll learn the rest as
you go along.
At a glance, the waveform appears to be full of diminutive spikes that may or may not
be issues. The even spacing between the spikes in the waveform usually indicate a
percussion beat. However, the only way to be sure is to listen to the track.
2 Play the clip. During playback, listen to the music while you watch the playhead move
along the waveform.
Did you notice the digital click (glitch) near the middle of the track?
3 Press Shift-Down Arrow to move the playhead to the blue timeline marker. Play the clip
from the blue marker. When you hear the distracting click, stop playback.
Digital clicks and pops can be as aurally irritating as gnats at a picnic. However, before
exterminating this digital annoyance, you should look at some of the navigation
shortcuts you’ll need.
Below the green marker, you’ll see a slightly thicker and less prominent spike in the
waveform. This is actually the 2-pop, which is a single frame of 1-kHz tone placed
2 seconds before the start of picture or sound as an audible sync mark.
5 Zoom in horizontally until you can clearly see the 2-pop’s waveform.
6 Press the Right Arrow once to move one frame forward. Press the Left Arrow to move
one frame back.
Even though the 2-pop is only one frame in duration, the playhead still scrubs the clip
so you can hear the pop in either direction.
8 Press the Right Arrow and Left Arrow to scrub the single frame again, both forward
and backward.
9 Drag the playhead over one peak in the waveform. Then, zoom in further until you see
individual samples (dots) that make up the waveform. Zoom in horizontally as far as
you can to see the individual samples.
Welcome to the sample level of the waveform. Just as molecules are the building
blocks of matter, samples are their equivalent in digital audio.
Now that you’ve seen how to get to the sample level of your clips, it’s time to move on
to the digital click in the music track.
2 Zoom in so that both the red marker and the click’s waveform spike are visible in
the timeline.
The click’s waveform is nowhere to be seen when you move one frame to the right.
4 Press the Left Arrow to move the playhead back one frame to the red marker.
5 Drag a play range around the click waveform. Then drag down
slightly on the selection to split it at the play range.
You’ve isolated the issue and have a clear view of the audible glitch. Next, you’ll redraw
the waveform to eliminate the errant sound altogether.
1 In the upper channel, click one of the samples prior to the drastic change in the
waveform. The sample turns red to indicate that it is selected. You can now drag up,
down, right, or left to redraw the waveform.
Don’t worry if your sample drawing isn’t perfect. You can drag back and forth as much
as needed to smooth it out. The secret to editing at the sample level is to draw smooth
lines (but not necessarily straight lines) that reconnect with the samples on either side
of the change.
NOTE To reset a clip’s samples, right-click the clip and choose Reset
Edited Samples.
5 Press Shift-Z.
6 Play the clip from the blue marker to hear the repaired glitch. If you hear the edit,
go back in and try to smooth it out. You’ll know it’s right when you can’t hear any
indication that the waveform was ever edited.
You just performed a seamless “glitch-ectomy” in the middle of a busy instrumental music
clip. You can apply this same sample-level technique on dialogue clips to remove noises or
even shave the “s” off of a plural word. When you get used to sample-level editing, you can
do it without first splitting the clip. For now, splitting the clip is like using training wheels
for sample-editing newbies and can be a time saver for seasoned editors, as well.
In this exercise, you’ll use Elastic Wave keyframes to retime an ADR recording to match the
original dialogue in the timeline.
Now you can see two ADR recordings in the lower layers and the bounced clip in the
upper layer.
3 Select both clips in the lower layers and press D to disable them. Then Hide Audio
Track Layers.
As you know, you could flatten the audio track layers, which would delete the takes
in the lower layers. However, if there is a possibility that you may need to access the
original takes, it’s better to keep them hidden in the layers where you can access them.
5 Solo tracks A1 and A2 and start looped playback. Listen to the clips together to
determine how well they match. Stop playback.
Clearly, they don’t match very well. Let’s use the Elastic Wave keyframes to retime the
clip in the A1 track to match the clip in the A2 track.
6 Right-click the clip in the A1 track and choose Elastic Wave to reveal the Elastic Wave
retiming controls.
Now you can retime the entire clip or add time keyframes to stretch or condense
specific areas of the waveform using keyframe markers.
7 Move your pointer over the right edge of the clip to see the Trim tool. Move the pointer
toward the left over the clip until it changes to the Retiming tool.
9 Stretch the clip back toward the right until the waveform for the last word in each clip
aligns. You can do this visually or by playing the end of the clips as needed until the
timing of the word “Lab” is the same on both clips.
10 Start looped playback and listen to the timing of the clips together.
It’s amazing how just retiming the clip slightly and aligning the last word really helps match
the entire clip. However, there is still room for improvement.
In this exercise, you’ll use Elastic Wave speed keyframes to further improve the timing
between the two clips. Let’s start with the word “Identify” at the beginning of the clip. At a
glance, you might think that the start of the waveform in each clip is the beginning of the
word “Identify.” It isn’t. So, you’ll need to set a time keyframe before the first syllable in
Identify and move it into position. Resolve provides handy keyboard shortcuts for adding
and removing speed keyframes: Command-click (macOS), Ctrl-click (Windows) to add a time
keyframe, and Option-Command-click (macOS) or Alt-Ctrl-click (Windows) to delete a time
keyframe. First, let’s listen to the beginning of the clips in the A1 and A2 tracks. Then, we’ll use
time keyframes to stretch the waveform in A1 to align with the same syllable in the A2 track.
1 Solo the A1 track and play the first part of the waveform to identify the first syllables
and word in the clip.
In this case, the first syllable is “I” for the word “Identify”.
Interesting. This time the first syllable in the waveform is actually just a breath—which
means the beginnings of the two clips are not aligned at all. Let’s add a time keyframe
before the waveform in the A1 track, and then move the beginning of the first word to
align with the beginning of the first word on the A2 track.
3 Command-click the clip in the A1 track, just to the left of the waveform start. The (+)
indicates that you are adding a time keyframe.
Wait! Look at the waveform. Previously, everything was aligned except the first part of
the word “Identify.” Now, the entire rest of the clip is misaligned. Let’s undo that last
step and add a keyframe where the waveform lines up perfectly in both clips to hold
this position and prevent the waveform changes from rippling beyond this point to the
end of the clip.
5 Choose Edit > Undo or press the Undo shortcut. Repeat if necessary until the
waveforms are realigned and the time marker is where you originally placed it.
6 Solo A1 and A2. Scrub the clips and find where they are aligned, just before the
word “the.”
Since this part of the waveform lines up perfectly in both clips, you’ll use a time
keyframe to hold this position and prevent the waveform changes from rippling
beyond this point to the end of the clip.
If you wish to move the position of a keyframe relative to the waveform, you can hold
Command while dragging the keyframe left or right. To delete a keyframe, just hover
over the keyframe and then right-click and choose Remove Speed Keyframe or use the
keyboard shortcut. You can also reset the entire speed curve by choosing Reset Speed
Curve from the same right-click contextual menu.
9 Move the first two keyframes as needed to align the syllables for “identify” until they
match the same word in the A2 track. Feel free to add more keyframes and experiment
with adjusting the clip’s timing.
10 Feel free to add more keyframes and experiment with adjusting the clip’s timing.
11 Once you’re finished adjusting the waveform, play the two clips together to hear the
results. The timing should be very close, if not identical.
For the real test, the ADR clip with the retimed audio should stand alone in sync with
the video clip and mouth movement.
13 Choose Workspace > Viewer Mode > Cinema Viewer or press Command-F (macOS) or
Ctrl-F (Windows) to change the entire screen to a full Cinema Viewer.
14 Start looped playback and listen to the modified clip while watching the video. If it
looks like Emiliana is speaking the words, based on her lip movement, your retiming is
a success! Press Esc to exit Cinema Viewer mode.
15 If you want to refine your clip retiming, double-click the left side of the Elastic Wave
badge to quickly reopen the retiming tools. When you’re finished, you can double-click
the left side of the Elastic Wave badge again to hide the retiming tools.
NOTE All Elastic Wave retiming adjustments you make in the Fairlight page appear
in the edit page as variable speed effects, accessible using the Retime controls.
However, not all retiming effects created on the edit page can appear as Elastic
Wave retime effects on the Fairlight page.
Now, you can put some of those skills to the test and choose your own audio adventure
from the following list. You may need to go back to the corresponding section in this
lesson or Lesson 6 to refresh your memory.
— Select a word or phrase in one of the dialogue tracks and replace it with the same
word or phrase from the outtake clip in the Files for Repair and Replace bin.
— Delete the De-Hummer plug-in from the clip in the A1 track. Apply a new De-Hummer
plug-in and adjust it to remove the hum.
— Remove the plug-ins from the clip on the A3 track and try reducing the noise using
the Noise Reduction plug-in. Try using Manual and Auto-Speech modes for the
best results.
— If you’re up for a challenge, delete the plug-ins from the clip in A4 and try reducing the
noise. Use as many de-noise plug-ins as you need. Consider gating the low-level noise
once it has been reduced.
— Right-click the first part of the music clip and choose Show in Media Pool. Drag the
music clip from the media pool to the empty space below the A1 track to create a
new track. Mute the A1 track. Use sample-level editing to remove the glitch from the
music clip.
Coming up in the next lesson, you’ll step out of the dialogue editor’s seat and into the
creative role of the sound designer.
Lesson Review
1 True or false? You can apply up to six plug-ins to a clip and apply unlimited plug-ins
to a track.
2 Which Fairlight FX plug-in is designed to remove powerline hum from an audio clip?
a) Noise Reduction
b) Hum Remover
c) De-Hummer
d) Un-Hummer
b) Ess-Remover
c) De-Essinator
d) De-Esser
5 True or false? The Fairlight FX Sample Editor plug-in lets you see and edit the audio
waveform at the sample level.
d) Select the clip and click the Elastic Wave button in the toolbar
7 Which modifier key is used to add and adjust time keyframes in the Elastic Wave
retiming controls?
a) Command
b) Shift
c) Spacebar
d) Option
8 Which DaVinci Resolve Studio built-in Track FX uses AI to remove background noise
from clips that contain a human voice?
a) Dialogue Enhancer
b) Dialogue Leveler
c) Voice Enhancer
d) Voice Isolation
e) Noise Reduction
2 c
3 True
4 d
5 False. There is no Fairlight FX Sampler Editor plug-in. To edit waveforms at the sample
level, simply zoom in to the waveform to see the samples on the Fairlight page.
6 b
7 a
8 d
Enhancing the
Soundtrack with
Sound Design
Creating the aural illusion of a scene Time
involves both the imagination and This lesson takes approximately
creative problem-solving skills of the 75 minutes to complete.
In this lesson, you will become a sound designer and be responsible for inserting sound
effects; manipulating sounds to fit the scene; and adding height, width, and depth to the
soundtrack. Along the way, you’ll also learn some powerful new DaVinci Resolve 18 tools,
plug-ins, and shortcuts.
1 Hide all open panels, if necessary. In the Timeline View Options menu, hide the
video tracks.
The timeline opens with four stereo audio tracks; tracks A2 through A4 are muted.
3 Show the viewer and then resize and move it so it fits into the lower-right half of
the screen.
4 In the Index, show the Markers panel. Change the Markers index to list view, if
necessary. Show only the columns Number, Frame, Color, Name, Notes, and Keyword
in that order from left to right.
7 Press Shift-Z to fit the clips into the visible timeline area. Do not play the timeline yet.
The marker index is ready when you need it, and the timeline is ready to go.
NOTE The exercises in this lesson build from the tools and skills that you learned
in the previous lesson. If you skipped ahead to this lesson, you may need to review
previous lessons.
Non-diegetic music, such as the score, can be a major contributor to a scene’s emotional
impact. Other non-diegetic sounds include drones, pulses, percussive beats, whines, warbles,
stingers, alarms, ticking, heartbeats, tinkling bells, and cymbal swells that are added to the
soundtrack specifically to manipulate the audience’s emotions. Often, these non-diegetic
sounds reflect the innermost thoughts and emotions of the characters within the scene.
Through television and films, audiences have been well trained to recognize the sounds
of common locations. For example, a busy hospital scene needs diegetic sounds such as
beeping monitors, respirators, alarms, public address announcements paging doctors
and staff, and the distant sounds of ambulance sirens to meet the audience’s audio
expectations for that location.
Once the diegetic sounds have been established, the sound designer often adds layers of
atmospheric background and mood-enhancing sounds to manipulate the audience and
evoke tension, excitement, or elation, depending on the context of the scene.
To better understand the power of sound design, let’s play the first scene and listen to
the finished mix. Then, you’ll watch the same scene again and listen to each of the three
fundamental components (stems) that make up the soundtrack: dialogue, sound effects,
and music. With each listening pass, you’ll gain a better understanding of the cumulative
effect of these elements.
This is also a great opportunity to use the full-screen Cinema Viewer mode while you watch
and listen to the scene.
1 Play the first clip in the timeline and try to identify which sounds (other than dialogue)
are diegetic sounds that the character Emiliana can hear, and which sounds are purely
for the audience. Press P for Cinema Viewer mode. When you are finished, press P
again to return the viewer to the previous size and position.
Clearly, the musical score was designed to evoke tension and fear to help the audience
feel the character’s internal emotions. Let’s play the scene again and listen to only the
dialogue stem in the A2 track. In this case, the dialogue stem is also a great example of
diegetic sound.
Soundtracks comprise three primary components: the dialogue, the sound effects
(SFX), and the music. Many tracks are mixed down to create each of these fundamental
stems in the final mix.
2 Mute the A1 STEREO MIX track. Unmute the A2 DIALOGUE STEM track. Play the
clip again to hear only the finished dialogue stem with the dialogue tracks and
production sound.
It takes only a few seconds to realize just how empty and unrealistic the location
and set seems without the embellished diegetic sound effects and the non-diegetic
accents and music. Suddenly, the scene has lost credibility and your focus may drift
toward defects in the set rather than the emotional story onscreen. If you imagined
specific sound effects that you would like to hear, you are thinking like a sound effects
editor and sound designer.
Did you notice the excessive crackling of the space blanket when Emiliana yanked it off
her back? This is one of the rare exceptions when crackling fabric movement picked up
on the talent’s microphone during production actually works in the final soundtrack.
Did you notice all the layers of sound used to increase tension? Let’s listen one more
time to only the dialogue and music.
4 Mute the A3 track and unmute the A4 track. Play the clip once more.
The score is powerful enough to carry the drama, but it doesn’t convincingly establish
the location or enhance the tension without the sound effects track.
Now, let’s listen to the final stereo mix for the scene that comes right after the
primary dialogue scene in which Philip tells Emiliana that her counterpart from his
reality is dead.
5 Unmute all the tracks and solo the A1 track. Play the second clip in the timeline. During
playback, listen for sounds that help establish the location. See if you can identify
sounds added only for dramatic effect. Listen for changes in the dialogue or footstep
sounds that suggest the physical space and surfaces.
What did you think of this scene? Once again, the excellent sound design really adds
authenticity to the story and the location. Hopefully, listening to these soundtrack stems
has given you a greater appreciation for and understanding of sound design and the
power of both diegetic and non-diegetic sounds.
NOTE Feel free to listen to each of the separate stems in tracks A2, A3, and A4 for
the second clip in the timeline, before moving on to the next section.
Speed changes allow a sound designer to change the duration of a clip or reverse a clip
to create a stylized transitional sound between scenes. In this exercise, you’ll create a
unique transitional sound effect in seconds. Let’s use the Marker index to locate a finished
example of a transitional sound effect already placed in the mix.
1 Show the Index. In the list, double-click the thumbnail for marker #13 to move the
playhead to that position.
2 Solo the A1 track, if necessary. Play the clip from the marker’s position to see the visual
transition and hear the reversed audio effect.
Reversing a percussion crash or other sound effect is a fun way to button a scene
(decisively end the scene). The first step toward creating that effect is to choose a
sound effect that will work for the transition.
This clip contains a series of percussion sounds recorded using the Pile Driver MIDI
drumkit sound from Apple Logic Pro X.
Now you can see a closer view of the waveforms for each recorded sound. Waveforms
with a defined triangular shape that start loud and taper off make good candidates for
a reverse speed effect.
NOTE To save time, the clip has already been marked with In and Out points
containing three different percussion hits.
2 Press L to play the three marked percussion hits. After the third percussion
hit, press K.
3 Press J to preview the percussion hits in reverse. After the third reversed percussion
hit, press K.
Which reversed percussion hit do you think would sound best under the visual
transition? Let’s go with the third one because it has the longest tail and the most
defined slope from the original hit to the end. Instead of dragging the clip to the
existing timeline, let’s experiment by applying speed changes in a new timeline.
1 Move the playhead just before the third hit and press I to mark a new In point.
The New Timeline dialog opens with the Timeline Name field selected.
3 In the Timeline Name field, type Reverse Speed Effect and press Return.
4 Hide the media pool. Click the Toggle Automation button (red) to turn off automation
and hide the Main bus in the timeline.
5 Zoom in on the timeline clip until you can clearly see its waveform.
6 Mark the clip and check its duration in the play range duration field.
The clip’s duration is around 5 seconds (05:00). Speed changes can also be used to
change clip duration. Once you reverse the clip, you will have the option to adjust the
duration as well.
2 Option/Alt-drag the clip toward the right and move the duplicate down the timeline to
around 8 seconds (08:00).
Now you can clearly see the audio waveform of both clips in the edit page timeline.
4 In the Inspector Audio panel, click the Speed Change header to expand those controls.
The Speed Change options include controls to change the Direction, Speed, Frames
Per Second, and Duration of the selected clip. Two additional options are important for
sound design: Ripple Sequence and Pitch Correction.
Doing so will change the duration of the clip in the timeline. If you leave the Ripple
Sequence option deselected, the clip remains at its current length, but the waveforms
reflect the speed change and additional material is included in the visible portion
of the clip.
NOTE Since you are experimenting with this sound effect in a separate
timeline, you don’t have to worry about affecting the other clips in the scene.
Forward Freeze
Reverse
The Direction controls include three icon buttons that indicate the current direction:
Forward, Reverse, or Freeze. At this time, the Freeze control is only for video freeze-
frame control.
6 Click the Reverse button (arrows pointing left) to reverse the selected clip.
Notice the Elastic Wave (W) badge in the lower-left corner of the reversed clip.
As expected, the reversed clip sounds like the opposite of the original clip. Now,
instead of a loud percussion hit that slowly decays (fades out) over time, the reversed
clip slowly fades in, builds to an exciting crescendo, and stops abruptly.
If you look at the Speed Change controls, you’ll see that the Speed % field shows the
speed is -100.00. Negative numbers indicate the reversed direction.
Next, you’ll change the clip speed to stretch or compress it. This is similar to stretching
a clip with the Elastic Wave tool. Keep in mind that if you drag too far to the right, you
will return to positive numbers and the clip will no longer be reversed. Also keep in
mind that speed changes cannot be performed during playback.
8 Drag the Speed % dial toward the right to lower the speed and increase the duration.
Listen to the clip.
9 Drag the Speed % dial toward the left to raise the speed and decrease the duration.
Listen to the clip.
10 Click the Reset arrow to the right of the Speed % dial to reset the clip’s speed to 100.00.
Notice that the direction also returned to the forward direction.
11 Uncheck the Pitch Correction option so that the pitch will change along with the speed.
Reverse the clip speed. Repeat steps 8–9. This time, the clips should sound slower or
faster with lower or higher pitch, respectively.
12 Click the Reset button in the upper-right corner of the Speed Change controls to reset
all speed changes.
13 Click the Reverse button to reverse the clip. Hide the Inspector.
You marked a source clip in the media pool, made a new timeline, duplicated a clip,
and reversed it. Awesome! This trick is used all the time in soundtrack and music
production. Chances are, now that you are aware of the reverse-clip effect, you’ll
frequently notice it more in other projects.
NOTE If you didn’t complete the previous exercise, open the 8 Reverse Speed
Effect Finished timeline to catch up.
1 Move the playhead to the beginning of the reversed clip. Right-click the reversed clip
and choose Copy.
2 In the timeline dropdown menu, open the 8 Sample Sound Design Scenes timeline.
3 Right-click any track header and choose Add Track > Stereo.
5 Select the A5 track and press Command-V (macOS) or Ctrl-V (Windows) to paste the
clip in the selected track.
6 Zoom in to the timeline until you can see the clip’s waveform.
7 Solo the A4 and A5 tracks. Play the clip in the timeline and watch the video to see
how it works with the picture and music.
It’s close. But in professional audio, close doesn’t cut it. Luckily, the DaVinci Resolve
Fairlight page includes an awesome set of visual aids to assist with clip timing.
1 Drag the viewer to the upper-left corner of the screen to make room for the scrollers
at the bottom of the timeline.
2 Click the timeline options pop-up menu to show all the timeline options. Under the
Scroller header, click the Video and Audio 1 icons.
4 If another audio track is showing, click the Audio Scroller 1 Display pop-up and choose
A5 - Audio 5.
In the Video Scroller, each filmstrip frame corresponds to a single frame of video.
Let’s change the zoom level of the filmstrip to include the neighboring clips.
5 In the Video Scroller, right-click the filmstrip and choose Zoom Level > High.
Instead of seeing every frame, the filmstrip now includes a higher range of frames
so that you can see frames from shots on either side of the video transition. The red
vertical lines on the audio and video scrollers represent the timeline playhead.
8 Drag the video scroller to the right until you see the first frame of the transition. It is
the first frame after the green-lit close-up shot of Emiliana.
9 Play the timeline while watching the video scroller, and stop playback when you see the
end of the visual transition.
The timeline playhead and corresponding playhead on the scrollers clearly show that
the waveform finale and end of the transition are close. You could nudge the clip into
position; but instead, let’s use the scrollers and some common keyboard shortcuts
to fix the timing. When working with video scrollers, you can double-click any frame
to move the playhead to that frame. So, if you align the playhead to the end of the
waveform on the clip, you can use editing shortcuts to paste it precisely at the frame
you select on the scroller.
10 Using the reversed clip’s waveform as a guide, move the playhead to the last frame
of the waveform (not the clip).
11 Select the reversed clip and press Command-X (macOS) or Ctrl-X (Windows) to cut
the clip.
A semitransparent version of the clip remains synced to the playhead until you paste it.
The playhead and the semitransparent version of the clip move to the selected frame.
This time it sounds perfect! Let’s hide the scrollers before moving on to the next section.
16 In the timeline options menu, deselect the Video and Audio 1 scroller icons.
As you just discovered, reverse audio effects are easy to create and sync to picture. Best of
all, you now have the skills to add reverse transitional audio effects to your own soundtracks.
NOTE When using keyboard shortcuts to cut, copy, and paste, you can also press
the JKL keys to reposition the transparent clip before pasting it.
Doubling a Track to
Thicken the Sound
Another common sound design and mixing technique is to double a track to “thicken”
or “fatten” the sound. Doubling a track involves duplicating the contents of one track
into another track and adding effects to one or both tracks. The combination of the two
tracks sounds thicker and richer than the original. This technique is commonly applied
to instrument tracks and background vocals in music production, and to ethereal voices
2 Play the beginning of the first clip from the yellow marker and listen to the differences
between the two voices. Stop playback after ADA says, “I cannot explain this discrepancy.”
Both voices are clear and easy to understand. Emiliana’s voice sounds real and
present, as if she really were only a few inches away, whereas ADA’s voice sounds more
processed and omnipresent (from all directions), as though it’s coming from multiple
nearby speakers. You’ll learn more about dialogue mixing, dynamics, and equalization
in other lessons, but for now, you’ll focus on the sound design for ADA’s voice to
transform it from a clean human voice to one that sounds as if it is computer generated.
NOTE A “clean” or “dry” sound is one that has no effects or processing applied.
Let’s open a different timeline in which you can double ADA’s voiceover (VO) track and
experiment with her voice.
3 Open the 8 ADA VO test timeline. Press Shift-Z to fit the clips horizontally into
the timeline.
This is the dialogue scene that you worked with in the previous lessons. Track A3
contains the test VO recorded using an actual computer-generated voice. Track A4 is the
human voice recording that you edited in Lesson 3. This track is muted. Tracks A5 and A6
are empty tracks for doubling and experimenting with ADA’s voice. First, let’s listen to
the computer voice, and then play the clean voiceover recording in the A4 track.
4 Show the viewer, if necessary, and move it to the lower-right corner of the screen.
6 Press Option-/ (slash) in macOS or Alt-/ (slash) in Windows to play from the In to Out
points and hear ADA’s first two phrases with the computer voice.
7 Mute track A3 and unmute track A4. Play from the In to Out points again to hear the
human version of the same phrases. When you’re finished, press Option-X (macOS)
or Alt-X (Windows) to clear the In and Out points.
Let’s thicken the sound of ADA’s voice by copying the clips from track A4 to tracks
A5 and A6.
NOTE The term doubling a track used to refer to creating only two versions
of a track in tape-based music recording. However, when using digital audio
workstations, you can make as many tracks as you need to thicken and enhance
your sound.
1 Press Home to move the playhead to the first frame of the track.
2 Drag the Selection tool across all the clips on the A4 track to select them.
3 Copy the selected clips. Select the A5 track and paste the semitransparent clips into
the A5 track.
Now you have three tracks containing identical clean versions of the ADA VO clips.
1 Select and solo the A5 track. Create a play range for the first two clips in the A5 track.
Show the Inspector.
The Clip Pitch controls let you lower or raise a clip’s pitch by up to 24 semitones.
With 12 semitones in an octave, you can pitch a clip up or down by two full octaves.
The Cents controls manipulate the clip by hundredths of a semitone and are used for
fine-tuning a clip’s pitch.
2 Start looped playback. During looped playback, drag the Clip Pitch slider to each of
the following settings: -1, -5, -10, -20, 0, 1, 5, 10, and 20. When you are finished, stop
looped playback.
As you just heard, subtle pitch changes can sound natural, while more radical changes
can completely transform a voice from human to that of demonic creature (-20) or a
talking mouse (+20).
3 At the far right of the controls, click the Clip Pitch Reset button.
Next, you can try dragging the Cents slider to introduce smaller incremental pitch
changes. Let’s do so while also listening to the A4 track to hear the “doubled” effect.
4 Solo the A4 track so that you can hear both the A4 and A5 tracks during playback.
5 Start looped playback. During looped playback, drag the Cents slider slowly to the left
and then to the right to hear the slight changes in pitch.
6 When you are finished, stop looped playback and reset the pitch controls on the
A5 track.
The pitch controls in the Inspector are perfect for making both large and small pitch
changes to individual clips. However, if you need to change the pitch for an entire
track, it’s better to use the FairlightFX pitch plug-in.
The Pitch dialog includes Semitones and Cents controls, as well as a percentage
control for the Dry/Wet output.
2 Start looped playback. Drag the Cents control left to around -30.
3 Solo the A6 ADA VO 3 track to hear it with the other two ADA VO tracks.
4 Drag the Pitch plug-in onto the A6 track header. Lower the Pitch on the A6 ADA VO 3
track by -12 semitones.
NOTE Mixing multiple versions of the same audio clip is very similar to the
process of image compositing in which you apply blend modes to multiple
versions of the same video clip. When compositing images, you often lower
the opacity of one or more of the blended clips for different effects. Similarly,
in audio track doubling, you adjust the volume levels on different tracks to
blend the various sounds without overpowering the original track.
Once you’ve added pitch changes to your tracks, you can adjust the volume levels right
in the Inspector. Let’s start by lowering the level of the A6 track.
5 Click the A6 ADA VO 3 track header to select that track. In the Inspector, drag the Track
Level Volume slider to the left until the heavily pitched voice is barely audible. Your goal
is to include it as an accent to enhance and thicken the sound of the original track. If
you aren’t sure what level to use, try a volume level between -18 and 21.
Perhaps you’re thinking, why bother adding the -12 semitone track if you are turning
it down so much? It’s all about the finesse. A track pitched an octave lower can really
beef-up the low end and thicken a sound. To prove that this track is worth the trouble,
let’s toggle the track’s Solo button off and on during playback.
7 Start looped playback, if necessary. Click the Solo button on the A6 track off and on
several times to hear the combined tracks with and without the A6 track. When you’re
finished, leave the Solo button turned on.
Hearing is believing.
It’s time to lower the volume level of the A5 track. This time, instead of dragging the
Volume slider in the Inspector, you’ll drag the Volume field in the track header. This is
a quick and easy way to adjust track levels as you work, without the need to open the
mixer or Inspector.
9 Unsolo the A4, A5, and A6 tracks. Set a play range between the two blue markers,
if necessary. Start looped playback.
10 During looped playback, mute the A5 and A6 tracks to hear the clean voiceover.
Unmute the A5 and A6 tracks to hear the doubled results. Feel free to adjust the levels
of the A5 and A6 tracks to taste.
Excellent. Not only did you successfully thicken ADA’s voice, but you also learned how to
apply subtle and dramatic pitch changes to clips and tracks. However, ADA still sounds
human. In the next exercise, you’ll apply another plug-in to increase the number of voices
from the A4 track.
NOTE Sound designers and music mixers sometimes use 12 or more tracks of the
same audio clip with slight pitch and pan changes applied to make the cumulative
sound more powerful and help it stand out in the finished mix.
2 In the A4 track, set a play range around the first two clips.
3 In the Effects Library, drag the Chorus plug-in to the A4 track header. Then close the
Effects Library.
The Chorus dialog opens, displaying a set of graphs: on the left is the graph of the time
difference between voices, and to the right is an animated graph of the signal after the
altered parameters are applied.
Let’s listen to the first two clips with the default Chorus preset applied and then listen
to the same clip with the Dramatic preset.
6 Continue looped playback and unsolo the track to hear it played along with the other
ADA VO tracks.
7 Toggle the Chorus Bypass button (red switch) off and on during playback to hear the
cumulative effect of the Chorus plug-in on the original sound and the combination of
all three tracks. When you are finished, leave the Bypass button off (red).
The Dramatic preset is perfect for ADA’s voiceover; however, let’s take a moment to
try the manual settings to create your own chorus sound.
9 In the upper-right corner of the Chorus dialog, click the Reset button to return to the
default settings.
Let’s start by adjusting the Delay settings to the far left of the controls area. The Delay
settings control the length of delay between the original sound and the Chorus effect.
10 Drag the Delay knob to the right to increase the length of the chorus, as indicated by
the delay lines displayed in dark blue in the graph.
11 Under the Voice controls, drag the Separation control to increase the time separation
of the delay voices.
The Chorus plug-in includes a low-frequency oscillator (LFO) that is mixed with the
signal to create modulation effects. The green bar in the Modulation controls area
shows the oscillating pattern.
13 In the Modulation controls area of the Chorus dialog, watch the bright green dot as
it oscillates back and forth on the green Modulation graph. Drag the Frequency dial
to the right to increase the oscillator’s frequency and, therefore, the speed of the
modulating pattern.
14 Drag the Pitch control to the right to increase the amount of pitch change for a heavier
vibrato (fluctuations in pitch) effect.
15 Drag the Level control to the right to increase the tremolo (fluctuations in volume
level) effect.
Below the Modulation graph are six waveform shape buttons: (from left to right) sine,
triangle, saw 1, saw 2, square, and random.
The random oscillator shape adds a synthetic feel to the chorus effect that will help
dehumanize ADA’s voice. The overall effect will be much more pronounced when you
increase the Dry/Wet Output control.
The last two controls to the right are Feedback and Output. The Feedback controls
include an Amount control to adjust the percentage of the signal fed back to the
Chorus Delay line, and a Blend control that lets you change the amount of signal that
bleeds into the opposite channel for stereo signals. Increasing the Feedback Amount
value adds more of the Chorus effect to the signal, while lowering this value adds
more of the inverted Chorus effect to the signal. A value of 0 has no effect, whereas
Increasing the Dry/Wet Output control will increase the percentage of the chorus
effect that is audible.
18 Drag the Dry/Wet control to the right to 100% to hear only the chorus effect.
19 Drag the Dry/Wet control to the left to slowly lower the wet percentage during playback.
20 Experiment with the different settings. When you are finished, reset the plug-in
controls and choose the Dramatic preset. Close the Chorus panel.
21 Unsolo the A4 track and play the dialogue scene from the first blue marker to hear the
new and improved (dehumanized) voice with the other characters.
ADA’s voice no longer sounds like this author’s feeble attempt at recording voiceover.
You’ll later get an opportunity to further alter ADA’s voice. For now, let’s move on to the
next sound design technique.
Let’s start by opening a different timeline and listening to a variety of Foley footsteps.
As you work with the different examples, you’ll see that many of the techniques that you
used to edit and enhance dialogue have been applied to the Foley footsteps.
This timeline includes examples of several Foley footstep recordings and sound
design techniques.
2 Hide the viewer. Show the Inspector, Effects Library, and the Markers index in List view.
3 Modify the Markers list columns to clearly see the Name column.
In the Inspector, you can see that this clip has a Noise Reduction plug-in.
5 Start looped playback. In the Inspector, click the Noise Reduction Bypass button to
toggle the plug-in off and on during playback.
Did you notice that the soft shoes in this recording were a bit squeaky when they bent
and flexed? If so, you have the discerning ears of a sound designer! Of course, these
squeaking shoes may offer more realism than most scenes call for—but if the shoe fits….
Still, the Noise Reduction plug-in significantly reduced the background noise,
demonstrating that effects designed to improve dialogue clarity can also be applied
to sound effects.
Foley sound effects acquired from a sound library or service usually include clip names
that describe the types of shoes, surface, and action used in their recording. For
example, the clip on the A2 track is named Soft Shoes On Wood Pause Turn Run.m4a.
That’s about as generic a sound as you can get for soft shoes on wood. In this
example, no plug-ins were applied to either the clip or the track. However, the
volume overlay includes keyframes to balance the levels of the footsteps. One thing
that’s missing from this clip is the sense of space. Are these footsteps in a hallway?
A bedroom? A confined bathroom or a resonant cathedral?
8 Set a play range around the two clips in the A3 Footsteps 3 track.
This track includes two identical clips named Hard Shoes On Wood.m4a.
9 Play the clips and listen to the sound of the hard shoes on wood.
Did you notice that this clip has a bit of unpleasant low-level noise between steps? Let’s
apply a Gate to clean up the track.
10 Select the A3 track. Show the mixer. On the A3 channel strip, double-click the
Dynamics control.
11 In the Dynamics controls panel, click the Gate button to turn on the default Gate
dynamics processing.
The Gate processing instantly cleaned up the sound of the individual footsteps.
Notice that the gate was also applied to the A4 track, which includes the same two
footstep clips.
Once again, the footsteps live up to their name, but nothing else. It’s time to give
these footsteps some depth.
One of the best ways to explore different plug-ins is to add them all to a track and “test
drive” each plug-in during playback. In this exercise, you’ll audition different plug-ins using
bypass switches and presets to add realistic depth to the Hard Shoes on Wood Foley clips.
Along the way, you’ll also explore different types of FairlightFX time-based plug-ins.
1 Set a play range around the two clips in the A4 Test Drive track.
2 Select the A4 Test Drive track header to show the track parameters in the Inspector.
3 In the Effects Library, drag the following plug-ins to the A4 Test Drive track header:
Chorus, Delay, Echo, and Reverb.
4 Close all the plug-in windows. Hide the Effects Library and the Index.
5 In the Inspector, show the Effects panel. Option-click any of the plug-in effect headers
to compress all of them at once. Then, in the Inspector, click the bypass switch on each
plug-in to turn them all off.
The effects are applied, and now you can test each one during looped playback. In
the previous exercise, you used the Chorus plug-in to thicken a voiceover track. Now,
you’ll use the default Chorus setting to add a bit of perceived depth to an otherwise
“flat” Foley recording.
6 Start looped playback. In the Inspector, click the Chorus bypass switch to turn on the
effect. Toggle the bypass switch off and on to evaluate the effect in the track.
The effect is subtle, but it definitely adds a hint of depth to the track, as well as weight
and grit to the footsteps. Let’s try the next example.
7 Continue looped playback. Turn off the Chorus effect and turn on the Delay.
8 In the Inspector, to the far right of the Delay controls, click the Customize button to
open the Delay panel.
The FairlightFX Delay is a standard stereo delay effect that you can use for track
doubling, early reflection generation, and harmonic enhancement.
9 Drag the Delay Time control all the way to the left to remove the delay, and then slowly
drag it to the right to add a slight delay to the footsteps. Try a value between 30 and 35
milliseconds (ms). Set the Dry/Wet amount to around 15 so that only 15% of the output
includes the delayed effect.
10 Toggle the Delay bypass off and on to compare the track without and with the delay.
With the delay turned on, you should hear a slight delay that creates the illusion of
sound reflecting off the ceiling and walls.
It’s amazing that a small amount of delay can make a sound seem as if it is coming
from an actual space. How is that possible? Because our hearing is based on binaural
perception (two ears) and the differences in loudness, frequency, reflections, and
reverberations in those ears. Your job as the sound designer is to apply the amount of
delay necessary for the space depicted on the screen.
11 Close the Delay panel. In the Inspector, turn off the Delay plug-in.
This classic Echo effect includes a graph showing the timing and intensity of the
generated echoes on each channel, as well as an Output meter that displays the level
of the resulting signal.
13 Show the Echo panel. Try each of the presets starting with Fast Ping Pong to hear four
variations of Echo applied to the footsteps.
14 When you’re finished, close the Echo panel and bypass the effect.
If you recall, you used the Echo Fast Ping Pong preset in Lesson 1 when you were
building that exciting trailer soundtrack. It worked great for that effect but isn’t as
effective here. Echo is a powerful tool, but a little bit goes a long way. When you need
it, you’ll know where it is and how to apply it.
NOTE You’ll find detailed information about all the FairlightFX plug-ins
and their controls in the DaVinci Resolve 18 User Manual, available in the
application’s Help menu.
Last, but not least, is the all-powerful Reverb plug-in, which is one of the most useful
effects in audio post-production.
You are probably surprised at how bad the Reverb effect sounds. That isn’t the plug-
in’s fault; it’s actually due to the Gate that’s applied to the track. In this example, the
gate removes some of the low-level sounds necessary for simulating spatial sound
reflections and reverberation.
16 Show the mixer. In the A4 Test Drive track, open the Dynamics panel and turn off the
Gate processing. Close the Dynamics panel.
Suddenly, the footsteps sound as if they are in an actual space. Unfortunately, now the
low-level noise is also audible, which shows that presets and default settings will only
get you so far in sound design.
— Dialogue: Average speech -12 dB (-10 dB loud voice to -15 dB soft voice, -6 dB scream,
-20 dB whisper)
— Music: Underscoring during dialogue -18 to -20 dB, music without dialogue
-12 to -15 dB
— Sound Effects: -10 to -20 dB
— Loud SFX: Explosions and other highly impactful SFX peak at -6 to -8 dB
2 Using the Selection tool, select both clips in the A4 track so you can adjust their clip
levels simultaneously in the Inspector.
The levels are peaking well into the red, so they definitely must be lowered. Because
these clips don’t have to balance with any dialogue, you can set them so their peaks
are within the yellow range of the meter, around -18 to -12 dB.
4 In the Inspector, lower the Multiple Clips Volume level to between -6 and -8 dB.
At this level, the slight background noise is no longer noticeable, so you can proceed with
the Reverb without gate processing.
How do we determine all that information from sound alone? The human brain can
instantly process a sound based on recognition. If we don’t recognize a sound, we guess at
its nature and origin based on similarities with other familiar sounds. We also estimate the
size and distance of the source based on its volume level and estimate its location based
on triangulating the signal with our built-in stereo sensors (ears).
To identify the general size and surface of a space, we subconsciously use three acoustical
elements: the original sound, the early reflections on surfaces, and the late reverberations
of the sound bouncing off the surfaces in the area. Bright early reflections indicate hard,
smooth surfaces such as tile, marble, or glass; whereas dull, muffled, or muted early
reflections suggest grass, books, carpet, or padded walls.
Sound designers and sound mixers apply these acoustic principles to emulate realistic
spaces and events when building and mixing soundtracks.
To ensure clean recordings, sound stages and recording studios are acoustically treated
to absorb and minimize early and late reverberations. Then, spatial simulators, such as
the FairlightFX Reverb, are applied to those non-reverberant recordings to simulate the
acoustic space appropriate to the scene.
The Reverb dialog controls are fairly self-explanatory because they’re based on the
size of a simulated 3D room in which you can adjust the combination of the original
signal (Direct), early reflections (ER), and late reverberations (Reverb).
In the upper left of the dialog, the teal-colored 3D rectangle represents the room size.
The graph to the right roughly visualizes (from left to right) the reverb’s effect on the
audio signal. The controls at the bottom let you fine-tune the Reverb timing as well as
Early Reflection tone and Reverb tone. The controls in the lower right adjust the levels
of the Direct signal (white vertical line), Early reflections, and Reverb levels as depicted
on the graph in blue.
Let’s start by listening to the first two presets, as they are a great way see and hear
the extreme differences between small and large spaces.
3 Start looped playback. In the Reverb dialog, choose the Bathroom preset. Toggle the
Bypass button off and on to hear the footsteps without and with the Bathroom preset.
Notice that the quick, reflective sounds from the Bathroom preset give the aural
impression of a small space with highly reflective surfaces.
Notice that the size of the room displayed to the left correlates to the length of the
reverb tail to the right.
As mentioned earlier, textile surfaces such as marble and wood emit varying degrees
reflective qualities. In the Reverb dialog, the Early Reflection tone and Reverb tone
areas offer equalization controls to independently modify the tone of the reflections
and reverb to suit the textile characteristics of the room. Let’s compare the sound
of three different small spaces, each with different tone settings. Listen for the
differences in reflective sound between the Studio presets and the Bathroom preset.
5 Continue looped playback. Choose the Studio2 preset, and listen to the dull, reflection-
absorbent sound. Then, choose the Bathroom preset to hear a reflective, “tiled” room
sound. Next, try the Studio1 preset. Switch between these three presets to compare
their Early Reflection tone and Reverb tone settings.
Could you hear the difference in the tone, early reflections, and reverberations of the
presets? Both of the Studio presets have duller, less reflective sounds, which suggest
sound-absorbing materials on the walls and ceiling. The Bathroom preset, on the other
hand, has heavy early reflection that indicates more reflective surfaces such as tile,
glass, or polished metal.
Let’s manually change the size and sound of the room to a long corridor.
TIP Hold Shift while dragging parameter controls for refined incremental
control. You can also double-click any control knob to reset it to the default value.
8 Start looped playback. In the Reverb controls, drag the Reverb Time to the right and
left to extend and shorten the reverb length. Try setting it at around 1400 ms.
This 3D shape shows a long corridor, so let’s adjust the sound to match the space.
To do so, you’ll use the distance control to increase the simulated distance between
the virtual source and the virtual listener.
Next, you’ll adjust the Brightness control to change the shape of the decay time for the
higher frequencies. At maximum brightness levels, the high frequency decay time is
identical to any other frequency. Lower brightness levels result in shorter decay times
and a duller sound.
The Output controls allow you to combine all audio processing results into a single
output signal. These controls include a Dry/Wet control to determine the percentage
of the original to processed signal, along with independently adjustable Direct, ER
(early reflection), and Reverb (late reverberation) controls.
Early reflections and reverb are also used to depict the size of a space and how far the
listener is from the original sound. As the name suggests, early reflections are the first
reflections that reach the listener’s ears, while subsequent reverberations continue to
bounce about the space as they make their way to the listener. It is the combination of
these two elements that give scale and distance to acoustic spaces.
11 While looking at the blue graph, drag the ER control to the far right and far left to hear
the illusion of being closer to or farther from the original sound. Set the ER to around
-30 dB. Click the Reverb’s bypass switch on and off to hear the clip without and with
the reverb.
12 Drag the ER slider to the right to around -4.5 dB to increase the early reflections.
13 While watching the graph, drag the Reverb control to the left to lower the level of the
late reverberations to around -35.5 dB.
You can hear and see the minimal reverberation in the graph.
2 In the Reverb Preset dialog, type Corridor. Press Return or click OK.
TIP When naming presets and sound effects, it’s always a good idea to give
them clear, self-explanatory names. For example, a corridor is always a corridor,
while a hall could be a hallway or a concert hall.
The Preset pop-up updates to show the current preset, Corridor. You can select this
preset from the list at any time, and even update it and resave as a different preset.
3 With the Corridor preset selected, increase the Reverb Time to around 2922 ms, and in
the Output controls, increase the Reverb level to around -5.1 dB.
A Reverb Preset dialog opens with the option to update the current preset or create
a new one.
5 Click Create. Name the new preset Corridor 2 wet and press Return.
6 Click the preset menu to see the two new plug-ins in the list.
7 Start looped playback. Switch between the Corridor and Corridor 2 wet presets to
compare them. When you’re finished, stop playback.
The best part of saving presets is that you can use them in any Resolve project on
your system.
For example, try combining the Chorus and the Reverb plug-ins for a more realistic sound.
Keep in mind that you can use the bypass switches to toggle the plug-ins off and on while
You can limit frequencies of an individual clip in the Inspector or EQ an entire track in
the mixer.
In this example, you’ll further transform the footsteps so they sound as though they are
coming from a corridor on the other side of a sealed door in a spaceship. To do so, you’ll
use a low-pass filter in the track Equalizer to eliminate the high-frequency sounds just as
a door would do in the real world.
In the real world, the best sound quality and clarity occurs when a sound source is in close
proximity to the listener. The clarity of a sound source diminishes with a change in source
position and orientation or the placement of a physical obstruction between the source
and the listener This aural compromise occurs because such changes alter the balance
of certain sound frequencies: The greater the obstruction or positional change, the more
limited the high and mid-high frequencies that reach the listener.
Why don’t we hear the high frequencies through walls? In a nutshell, high-frequency
sound waves are relatively short, and therefore more easily absorbed by solid materials.
Low-frequency sound waves are much longer and require more power to become loud
enough for human ears to detect. As a result, lower frequencies not only have the power
to reflect and bounce around a room, they can also resonate within and through walls,
doors, and windows.
1 Play the clips in the A5 Finished track to hear the finished footsteps with the EQ’s low-
pass filter applied.
Impressive, right? It absolutely sounds as if the footsteps are coming from a long room
on the other side of a sealed door in a spaceship. (You probably noticed that one of the
footsteps clips was split into short sections, each containing a single footstep, which
makes it easier to sync the individual steps to picture.)
Now, it’s your turn to recreate that sound by applying the 6-band Equalizer to the A4
track. First, let’s streamline the interface.
2 Select the A4 track and mark the first clip for looped playback.
4 Show the mixer. In the A5 channel strip, look at the effects slots and EQ graph to see
that both the Reverb effect and EQ are applied and active.
This EQ window is very similar to the 4-band EQ that you used in the Inspector to detect
sibilance in Lesson 7. However, the track EQ includes six bands of equalization with
graphical and numeric controls for attenuating (lowering) and boosting (raising)
ranges of audio frequencies on each track. Bands 1 and 6 are primarily used as high-
and low-pass filters. The middle bands control the Low (L) Mid-Low (ML), Mid-High
(MH), and High (H) frequencies.
7 Start looped playback. Slowly drag the Band 6 handle to the left until the lower part
of the low-pass filter curve reaches 1k.
As you can see, the A5 track includes a high-pass filter (Band 1), and Band 3 has been
boosted at around 70 Hz. Let’s do the same to the A4 track.
9 Select the A4 track. In the Equalizer window for the Test Drive track, click the Band 1
button to turn it on. In the graph, drag the Band 3 handle up to the +5 dB line (one
line above 0). In the Band 3 controls, drag the Frequency control to the left until it
reads 70 Hz.
This technique of applying a low-pass filter to limit frequencies can be used for
dialogue, music, sound effects, and anything else that needs to sound obstructed
in your soundtrack.
This ends your exploration of sound design with footsteps. Let’s take a moment
to examine a finished mix to see and hear how the techniques you’ve learned in
this lesson can be combined to create finished effects.
For this example, you’ll see a clip where Philip is digging around in a bin, with barely any
sound to go with the clip. Therefore, you’ll need to find a Foley sound effect in the Sound
Library that will work. Once you find the right clip, you’ll analyze the audio waveform and
the video clip to determine the best sync point. Keep in mind that the audience’s minds will
believe what they hear, as long as it seems to be in sync with the picture. Hence, the need
for using a sync point. Let’s try it.
2 If necessary, open the viewer as a separate window and hide the meters at the top of
the interface.
The sound where Philip digs around in the bin looking for tools is a bit lackluster. Let’s
find a suitable sound effect that will enhance the drama of his search, as well as add
another level of realism to the soundtrack.
4 In the Interface toolbar, click the Sound Library button to show the Sound Library.
If you recall, this is the database where you imported the sound effects in Lesson 1.
NOTE If you did not follow all the steps to import a sound library in Lesson 1,
please go to that section of the book and follow those steps before continuing
to the next step.
Now, you can find a sound effect to audition in the Sound Library.
7 Select the sound in the list and preview it in the Sound Library. As you play the
rummaging sound effect, watch the playhead move across the waveform and listen for
any distinctive moments in the clip.
For the most part, it’s just a lot of rooting and rummaging sound. That is, until the
rather distinctive sound of a hand whipping out of the backpack. This is exactly the
kind of Foley crescendo that can be synced to Philip’s hand as he pulls it out of the
first bin.
In a few minutes, you’ll audition the sound effect to the A2 FoleySFX track. First, you’ll
need to set your sync point in the timeline with the playhead, as well as a sync point in
the Sound Library with the preview playhead.
8 In the timeline, move the playhead to the blue marker above the second clip in the
A1 track.
This marker position is where Philip’s hand is almost all the way out of the bin.
10 Click the Set Sync Point button, to the left of the In Point and Out Point buttons, to set
a sync point at the playhead position.
A green playhead appears over the waveform in the Results list to indicate where the
sync point is currently set. You can set a new sync point anytime by simply moving the
playhead to a new position over the preview clip’s waveform and clicking the Set Sync
Point button.
Before auditioning the clip in the timeline, it’s a good idea to change the current In
point of the sound effect, because at the moment the sound effect is much longer
than needed. Let’s set an In point 3 seconds prior to the sync point.
11 In the Sound Library, press Shift-Left Arrow three times to move the preview playhead
3 seconds to the left. Then press I or click the In Point button.
12 In the timeline, select the A2 Foley SFX track and make sure that the playhead is in
position at the blue marker over the desired clip.
Pretty cool, right? It sounds as if the backpack rummaging sound was part of the
recorded scene all along. Using this type of Foley fx sleight of hand (pun intended) is a
great way to enhance your soundtracks. The volume level may be a little intense, but
the alignment and content works great.
14 Feel free to finesse the sound effect clip’s levels and timing to taste.
15 When you’re finished, click the Confirm button in the Sound Library to commit the
sound effect to the timeline.
Now that you know how to set a sync point in the Sound Library, let’s move on to re-
recording sound effects to the timeline with the Foley Sampler plug-in.
In this exercise, you’ll start by adding the Backpack Rummaging Foley sound effect to
the Foley Sampler to see how it works as a sampled sound effect that can be performed
with a MIDI keyboard or mouse. Then you’ll add Foley footsteps to the Foley Sampler to
demonstrate how to map additional sounds to the sampler. Finally, you’ll learn how to
record Foley Sampler sound effects into a track, in time to the footfalls onscreen.
1 Move the playhead to the beginning of the timeline and play the first two clips in the
A1 track. During playback, pay close attention to Emiliana’s footsteps because you will
re-record them with the Foley Sample plug-in shortly.
3 Drag the Foley Sampler plug-in to the A3 Foley Sampler track header. Hide the
Effects Library.
When you dragged the Foley Sampler to the A3 track, not only did the Foley Sampler
window open, but it was also automatically patched as an input instrument ready for
recording to the A3 track.
At this point, the Foley Sampler is ready to be used, but by default it has no samples
loaded to play. Next, you’ll add a sound effect from the Sound Library.
NOTE If you have a MIDI controller of some kind connected to your computer and
properly configured, it will appear in the MIDI pop-up menu at the upper-right
corner of the Foley Sampler window (next to the Keyboard button). Choose your
device from this menu, and the Keyboard button will highlight to show it’s enabled.
1 Open the Sound Library. The Backpack Bookbag Rummage sound effect should still
be showing. If not, search for backpack to load that effect into the results list.
2 Drag the Backpack Bookbag Rummage sound effect from the results list to the Foley
Sampler window.
Once you add a sound effect to the Foley Sampler, it is automatically assigned to the
keyboard keys, starting at the C2 keys. If you look above the keyboard keys, you’ll see
3 Click and hold the first keyboard key (C2) on the far left of the Foley Sampler keyboard
to play the sound effect in its native pitch and speed.
4 Click additional keyboard keys toward the middle and the far right to hear the
difference in speed and pitch.
5 Right-click the C2 key to automatically play the full sample. Click the key again to
deselect it.
Now that you know how to add a sample and play it using the keyboard keys, let’s make a
few modifications to the sample and mapping.
At the top of the Foley Sampler, you’ll find four panel buttons that can be used to show
different panels of controls: Mapping, Sample, Level, and Filter. In this exercise, you’ll
work with the Mapping and Sample controls to remap the sample to the first 12 keys and
change which part of the sample is played when you press a key.
The Low, High, and Centre control knobs determine which keyboard keys are assigned
the sample.
2 Change the Centre knob value to 41, which is the key in the middle of the mapped keys
between the lowest key 36 and the highest key 47.
3 Right-click the forth white keyboard key from the left (beneath the name of the sample)
to play the sample at its native pitch and speed. Feel free to click any of the other keys
within the mapped area to hear how the sample has been remapped, with subsequent
keys to the left playing lower pitch and slower, and keys to the right playing higher
pitch and faster.
Next, you’ll look at the sample and change which part of the sample is played when
you press a key.
4 At the top of the Foley Sampler, click the Sample button to show that panel.
5 Right-click one of the keyboard keys beneath the red line to play the sample. As the
sample plays, you can see the blue playhead move across the samples waveform.
6 In the Range controls, drag the Start knob toward the right until the white vertical
line is just before the loudest part of the waveform (around 66.97). Then drag the End
knob toward the left until the second white vertical line is just after the loud part of
the waveform (around 72.62).
7 Click one of the mapped keyboard keys to play the modified sample.
As you have just demonstrated, it is easy to add and modify a sound effect sample in the
Foley Sampler.
1 At the top of the Foley Sampler, click the Mapping button to show the Mapping panel.
The Foley sound FS catwalk on metal tinny appears in the results list. This
professional Foley sound effect is literally named and includes the initials FS
for footsteps.
5 Click a few keys mapped to the footsteps sample to hear what it sounds like.
Once again, each key incrementally plays the footsteps faster and at a higher pitch,
which isn’t really useful if you are recording footsteps to picture. What you really
need is for each footstep to be mapped so that you can play them individually. You
can do this by splitting the sample from the Options menu. When you split a sample,
the sampler will automatically map the original full length sample to the first set of
keys, followed by a spacer without sound, and then individual split sounds effects
are assigned to keys based on how many keys remain on the keyboard. That way, the
operator has the option to play the full sample or individual split parts of the sample.
6 At the top of the Foley Sampler, click the Sample button to show the sample waveform.
Here, you can clearly see each individual footstep within the sample. You can also see
that some footsteps are louder than others, especially toward the end of the sample.
The individual footsteps are now mapped to keys in order from left to right. Let’s look
at the split samples to see the resulting waveforms.
8 In the keyboard, click the line above each of the FS catwalk samples from left to right to
see the respective waveform in the sample waveform area.
1 Hide the Sound Library and mixer if necessary to streamline your interface.
2 Use the zoom controls so you can clearly see the first two clips in the A1 track as well
as the A3 track. You’ll also need to position the viewer window and Foley sampler so
that you can see the video and click the keys on the keyboard.
3 Set a range in the timeline that starts before Emiliana’s last line in the first clip and
ends before her last line in the second clip.
4 Start looped playback in the timeline and practice playing the samples using the
soundtrack footsteps as a guide. You may notice that she takes a few steps during her
first line in the second clip, “Who knows if any of them work?” that are not audible. Be
sure to include those steps too.
7 When you are ready to record a take, click the Record button in the transport controls
above the timeline. Press the Spacebar to stop recording when you are finished.
NOTE If you want to try another take, you can undo the previous recording or
simply record another take on top of the first. Each take will be stored in the
track in audio track layers with the most recent take on top.
You can record additional takes later. For now, let’s move on to the last part of the
exercise. Once you have recorded a take, you can easily split the clip with the Razor
tool or shortcut and manually move or nudge the footfalls into position.
NOTE If you would rather try the sound design for the footsteps on your own, feel
free to create a new track and move the footsteps to that track and apply whatever
EQ and time-based plug-ins you think you need to achieve your goal.
1 In the timeline, move the playhead to the first frame of the shot where Philip is
watching Emiliana through the glass in the sealed door. If you have a footfall landing
on that frame, move the playhead right or left to finish the footstep waveform before
splitting the clip.
2 Select the recorded footsteps clip in the A3 track and click the Razor tool in the
toolbar (scissors) or press Command-B. You should now have two clips in the A3 Foley
Footsteps track.
Now it’s time to cut the second footsteps clip and paste it into the A5 track.
3 Use any method that you prefer to cut the second recorded footsteps clip in the A3
track and paste it into the same position on the A5 track.
5 Make any edits or sound design decisions you feel are necessary to finesse the
placement of the footsteps, their volume levels, and their perceived space within
the scene.
6 To see and hear a finished example of the finished scene, open the timeline 8 Foley
SFX and Foley Sampler Finished.
There you have it. You can now add Foley Sample recordings to your sound design skills.
Don’t worry if it isn’t perfect, as long as you know how to perform this operation, you can
use the Foley Sampler on your own soundtracks.
TIP You can save a Foley Sampler instrument with all the samples and mapping
to the Preset Manager so you can use it again in other timeline tacks or even
other projects on the same system. This is incredibly useful if you are working on
a project with a lot of repetitive foley sounds, such as football-tackles, helmets
crashing, and crowd cheers for a football themed movie.
2 Zoom as much as necessary to clearly see the clip and its waveform in the timeline.
Next, let’s change the Navigation options in the Timeline View Options menu.
With the Jump to Transient option selected, you will be able to use the Up and
Down Arrow keys for navigating to transients within the clip.
4 In the Timeline toolbar, to the left of the Vertical Zoom controls, click the
Transient Detection button to turn it on.
Once Transient Detection is active, you will see a Transient Detection icon appear
on each track header. These allow you to choose which tracks will detect and
display transients.
The thin vertical lines within the clip are the detected transients. Notice that there is a
transient before each footstep sound. You can now use these transients to manually
navigate to and split the clip into individual footsteps just like the Foley Sampler.
6 Press A for the Standard Selection tool. Select the clip in the A4 track.
Selecting a clip is not necessary for navigation between transients, but it is needed to
limit which clips are split when you press the Command-B shortcut. Also, whenever
you split a clip, the remaining clip to the left of the split remains selected. So, for this
exercise, you will start at the tail of the clip and navigate toward the left as you go by
pressing the Up Arrow.
8 Press the Up Arrow to jump to the previous transient. Press Command-B (macOS) or
Ctrl-B (Windows) to split the clip at the transient.
10 When you’re finished, click the Transient Detection button in the timeline toolbar to
turn it off.
Working with transients can be helpful in splitting clips into smaller segments. With the
sounds split into smaller clips, you can then arrange them as needed in the track. Transients
are also useful for detecting beats in music and detecting words and phrases in dialogue.
3 Show the viewer. Resize and move it to the lower middle of the screen.
4 Solo the A1 STEREO MIX track. Move the playhead to the second-to-last blue marker
in the track (03:04:08:14).
Could you hear the realistic change in footsteps between the two spaces?
7 Start playback and listen to the techniques applied to the voices of the two characters.
You’ll hear examples of frequency cutting and reverb.
By now, your aural recognition of various sound design techniques should be more finely
tuned as you hear them in context. Did you wonder how Philip’s radio voice sound was
achieved? Easy: by applying heavy low- and high-pass filters, just like a real two-way radio.
In the next lesson, you’ll apply what you’ve learned so far to create original sound effects.
Lesson Review
1 In which pages of DaVinci Resolve 18, can you reverse and change the speed of
an audio clip?
a) Media
b) Edit
c) Fairlight
d) Fusion
e) Deliver
2 Where do you turn on the Video and Audio scrollers in the Fairlight page?
a) Timeline View Options menu
b) Inspector
c) Sound Library
b) Right-click menu
4 To create the aural illusion that a sound is coming from the other side of a physical
barrier, which tool would you use in mixer?
a) EQ
b) Compression
c) Auxiliary Bus
c) In the Inspector
6 True or false? When you drag the Foley Sampler plug-in to a track’s header, the track is
automatically patched with the Foley Sampler as the Input instrument.
7 Which methods can be used to add a sound effect to the Foley Sampler? (Choose all
that apply.)
a) Drag a sound from the Sound Library to the Foley Sampler
b) Drag an audio file from the file system on your computer to the Foley Sampler
c) Right-click a clip in the timeline and choose > Add to Foley Sampler
2 a
3 a, c
4 a
5 b
6 True
7 a, b, and d
Pre-Mixing Levels
and Panning Tracks
mix; you just need to learn how it’s done Finding the Right Balance
between Two Background Tracks 426
using the tools in DaVinci Resolve 18.
If you are an editor or are new to audio Linking Tracks for
Single‑Fader Control 428
post-production, the next series of
lessons are designed to demystify the Placing Audio in the
Panoramic Sound Field 432
art of mixing sound by introducing
Exploring 3D Pan Controls 443
you to the tools you’ll need and how to
use them. Lesson Review 451
Mixing is an ongoing process. Every variable you change on every track can affect how
other tracks interact. In other words, you have no set-it-and-forget-it in mixing. That’s why
you start small at the clip level by balancing levels within each track.
In this lesson, you’ll focus your attention on the track levels, how they sound together, and
the placement of sound within the panoramic field.
To build the final mix, re-recording mixers pre-mix the tracks to enhance the sound and
reduce the number of tracks going to the final mix. The re-recording mixer carefully
balances those tracks to create a final mix based on the sound designer’s or director’s
audio goals. Along the way, the mixer records the output of the mix, or groups of tracks,
back into the timeline into a new track. Hence the name re-recording mixer, because they
continually re-record mixed sections of the timeline or the entire mix back into the timeline
to create finished stems or mixes. The mix must also comply with any regulations that
enforce sound mixing standards for broadcast and theatrical distribution.
Although you can mix projects in a home office or recording studio, full-sized mixing or
dubbing stages are preferred when mixing feature films destined for theatrical release.
They enable the mixer to fully hear how the final mix will be experienced by audiences.
NOTE The exercises in this lesson build from the tools and skills that you learned
in previous lessons. If you skipped ahead to this lesson, you may need to review the
previous lessons as a guide for skills and tools already covered.
2 If necessary, hide the media pool, index, and any other open panel on the Fairlight
page. Hide the viewer so that it returns to the docked position in the monitoring panel.
4 Press Shift-Z to fit the clips horizontally in the visible timeline area.
This version of the scene represents the culmination of your work throughout this
book. In some cases, multitrack effects were bounced in their respective timelines and
added to this timeline. Also, some of the track colors were changed to organize the
tracks for mixing. Before you dive into mixing, here’s a breakdown of the tracks you’ll
be working with in this lesson:
— A1–A4 are the dialogue tracks that you recorded, edited, balanced, and repaired in
Lessons 2 through 7.
— A5 PFX contains all the useful production sound effects (non-dialogue) that were
recorded with the dialogue. It was split from the dialogue clips and moved to a
separate track so it can be included with the other sound effects tracks in the mix.
— A6–A7 are the stitched and bounced versions of the heart monitor and respirator
effects. They have been pitched up by +3 semitones in the Inspector.
— A8 is the DRONE 1 filler track that has been part of this scene since the initial edit.
During this lesson, as the sound designer and re-recording mixer, you will determine
whether you want to include it in the final mix.
NOTE You can see the finished timelines for the medlab fx and other original
sound effects in the Original Sound FX Timelines bin.
— A9 SFX contains the final mixed stereo sound effect stem that incorporates over 20
tracks of effects. Normally, the re-recording mixer would have access to the individual
tracks, as well as a sub-mix and bounced stems of the sound effects.
— A10 MUSIC contains the final mixed stereo music stem with the original score.
— A12–A14 reference tracks contain sections of the Hyperlight final mix and stems that
can be used to set listening levels and compare mixing levels while you work. These
tracks are muted.
NOTE If you’re working in a quiet room with a good set of stereo audio monitors,
you should be good to go. If you have been using your built-in computer speakers
or an inexpensive single speaker up to now, you are well advised to use stereo
headphones when performing these mixing exercises. Mixing with headphones is
not ideal in most scenarios, but for learning purposes they will suffice.
How do you do this? Meters are only part of the story. You still mix with your ears as well
as the meters. So, before mixing a single track, you should set your computer output
monitoring levels. Granted, you may be at home or in a classroom while stepping through
this training guide, so you may not have the equipment to calibrate your listening
environment—or even the speakers to listen to the output. And if you already have
professional calibration gear and an awesome surround speaker setup at your mixing
station, chances are your room is already calibrated.
Regardless of your setup, for the purposes of this lesson, how loud should your monitoring
output be? Basically, if your room, your computer output level, and your speakers are
properly set up, then the levels should be comfortable to your ears while you mix. Loud
sounds will sound loud, quiet sounds will sound quiet, and if something isn’t working,
you’ll hear it.
One of the best ways to set your listening levels is to use a reference track that contains
professionally mixed content similar to your current project or scene.
What should you use as a reference track? Something that is as close as you can get to
the project or scene you are mixing. Of course, no two projects or scenes are the same,
so when looking for reference tracks for comparison, here are some basic guidelines
to follow:
— Compare apples to apples whenever possible. In other words, find a project that has
the same delivery format. For example, if you are mixing a podcast, use a downloaded
podcast as a reference. If you are mixing a film (even a short film) for theatrical release,
use the highest-quality theatrical mix you can of the same genre. Blu-ray and 4K
DVDs often use the theatrical mix or something close to it. You can patch a player to
your system so you can hear the soundtrack, see the meters, and set your listening
levels accordingly.
For this exercise, you’ll use the finished Hyperlight mix as a reference to set your listening
levels. These can also be used later while mixing to check your balancing and sweetening
skills against the finished stems.
1 Adjust the vertical zoom on your timeline until you can clearly read the track numbers
and names. Then scroll down to see the A12–A14 tracks.
Because you will focus on the meters for a few steps prior to adjusting the levels, let’s
use the DIM button to lower the playback volume by 15 decibels.
3 Mark a play range between 01:00:53:18 and 01:01:18:04. This section is a strong
representation of dialogue plus music and background sound effects.
Keep in mind that this reference audio does not match the picture, so ignore the
viewer and focus your attention on the meters.
Monitoring panel
Seasoned audio engineers should feel right at home among these meters and
controls. If you’re new to audio post, you may find this setup as intimidating as a space
shuttle cockpit. If so, relax. In the next few exercises, you’ll discover just how useful
and user-friendly the meters and mixing controls can be.
Keep in mind that all these meters are telling the same story but simply use different
scales to do so. First, do you remember your target levels for dialogue? It’s between
-15 and -10 dB with the average at -12 dB. Also, if you recall, these target dialogue
levels appear yellow in the track meters, mixer, and monitoring panel track meters.
The dialogue in the reference track fits the target levels perfectly. Additionally, at
powerful moments, music and sound effects swell to the same levels when dialogue
is not present.
NOTE American loudness standards are actually -24 LUFS, which you can
change in the project settings. Also, keep in mind that this is a stereo signal,
just like the Main 1 output.
Now that you are confident in the reference levels, you can adjust your
monitoring levels.
5 In the master playback monitoring controls, click the DIM button to turn it off, and
drag the fader to the far right position, 0 dB. If you are monitoring through an external
audio I/O device, adjust the monitoring levels accordingly. Continue looped playback.
6 While listening to the reference track, adjust the output level of your computer or
speakers so that the levels are comfortable and clear for you. You can do so whether
you are using headphones or external speakers. If necessary, you can also adjust the
playback monitoring level.
7 Clear the play range. Unsolo and mute the A12 Reference track.
9 Start playback and listen to the dialogue levels while looking at the meters in both the
mixer and monitoring panel.
The levels should still average around -15 dB to with some louder peaks or quieter
dialogue depending on the scene context. How did the levels sound to you? If they
sounded too low, you may have set your computer output level a bit too low based
on the reference track. Conversely, if the dialogue was too loud, you probably set the
levels too high. Setting the best levels comes with practice. The important goal is to
set a comfortable level for you.
11 If you need to adjust your listening levels, unmute and solo the A12 track and adjust
the levels now. When finished, mute and unsolo the A12 MIX Reference track.
Once you have set up your monitoring levels for mixing, you must abide by the number
one rule: Don’t touch the levels again until you are finished with the mix. Really! Moving
forward, when the tracks sound too loud or too quiet, they truly are. Fix them in the
timeline or the mixer, but don’t touch the computer volume controls. Trust your ears as
well as the meters.
1 In the monitoring panel at the top of the screen, move the pointer over the left edge of
the viewer until it becomes a resize pointer.
2 Drag the left edge of the viewer to the left until the Loudness meters are to the left of
the transport controls in the interface toolbar.
This customized layout has several advantages. First, the gray space around the viewer
makes it easier to glance at, like a stand-alone window. Second, the Loudness meters
are much closer to the track meters in the monitoring panel, which makes it easier to
see them all at once.
Next, you’ll resize the monitoring panel in both directions to see how easy it is to
quickly adjust the height of the monitoring panel or mixer.
This layout is great when you need a larger viewer, Loudness meters, and overall
track meters.
4 Drag the bottom edge of the viewer up as far as you can to minimize the height of the
viewer and monitoring panel.
The trick to resizing your interface is to maximize the size of the elements you need as
you need them.
The most apparent mixing element is the volume, so let’s start with it.
In the mixer, you can see that all the faders are at their default positions except for the A8
DRONE 1 track. This is the starting position for mixing. Assuming that all the clip levels are
balanced within each track, you can use the mixing faders to adjust the levels within the
mix. Keep in mind that the faders are only in their starting positions; their final positions
will change constantly until the final mix is rendered in the deliver page.
Let’s play the first half of the scene and listen to the current levels of the tracks. At that
time, if any track levels are obviously out of place, you can balance them in the track header
or in the mixer.
You have only one way to find out if the starting levels are balanced. First, as a re-recording
mixer, you’ll want all the faders in their default positions before you listen to the tracks. If a
change in level is necessary, you’ll want to be the one to do it.
1 In the mixer, double-click the A8 DRONE 1 fader to set it to its default position.
3 When Emiliana says, “ADA, identify the person I’m speaking with.” stop playback.
What did you think? You may have identified a few places that you must deal with
before moving forward. Two of those are the medlab effects on the A6 and A7 tracks.
While the heart monitor and respirator effects sound good, especially in the beginning
of the scene before the dialogue, they are way too “hot” (loud), especially when the
medlab is offscreen and the characters are talking.
Also, the A8 DRONE 1 track is stepping over the music track and seems to be
consistently too loud. No problem, these are all easy fixes.
NOTE Before working your way through this book, your first instinct may have
been to turn up the levels of the dialogue tracks to compensate for the other
louder music and sound effects tracks. If you found yourself reaching for the
faders with an urge to turn down the medlab effects while listening to the
scene, you have the reflexive aural instincts of a re-recording mixer!
Let’s mute the medlab effects and set the level for the A8 track during playback.
After the A8 track level is set, you can tackle the medlab effects.
5 Select the A8 DRONE 1 track header to also select and brighten the corresponding
channel strip in the mixer.
NOTE Keep in mind that faders are the controls in the mixer that control
volume levels, whereas fade handles are the white handles (dots) on the volume
overlay at the head and tail of each clip in the timeline.
In the timeline at the first clip in the A8 track, you can see that the clip starts with a
fade. So, wait until the playhead is beyond that fade-in before you adjust the track
fader. Meanwhile, this is a great opportunity to listen to the drone track soloed during
the fade-in to familiarize yourself with its sound.
7 Start playback from the beginning and listen to the A8 track soloed during the fade-
in. Continue playback. In the mixer, unsolo the A8 track and drag down the A8 track
fader to lower its overall level in the mix. Your goal is to lower the drone level until it is
a subtle bed (a continuous sound) in the background. If you aren’t sure which level to
use, try a setting between -25 and -30 (around -15 dB in the track volume level field).
As you can see, it takes only a few seconds to set the faders and evaluate the tracks.
Next, you’ll balance the medlab effects tracks.
2 Select the A6 track and then Command-click (macOS) or Ctrl-click (Windows) the A7
track to select them both.
3 Zoom in vertically on the selected tracks until you can clearly see the waveforms and
volume overlays on the medlab clips. Then, deselect the tracks.
By zooming in on them, the tracks will be easier to work with while you change the
individual clip levels. When balancing multiple sound effects clips into one effect,
you should first determine which is the dominant clip, if any. As the sound designer,
this choice is entirely up to you. In this example, you’ll lower the respirator sound
because it is more likely to detract from the dialogue. The heart monitor, on the other
hand, can sell the idea of a medlab by itself.
So, let’s leave the heart monitor clip’s volume at the default level and lower the
respirator clip to about half the level of the heart monitor. To do so, you can drag down
4 In the monitoring panel, drag down on the bottom of the viewer to increase the size of
the viewer and monitoring panel, as needed.
5 Start playback from the beginning and watch the video playback in the viewer and the
meters for the soloed tracks.
Both tracks average around -15 dB. So, to reduce the respirator level by half, you’ll
lower the level until it averages around -30 dB.
6 Continue playback. Drag the Respirator FX Long.wav clip’s volume overlay down
while listening and watching the meters until the average level of the clip in the A7
track is about half of the A6 track’s level.
7 Start playback from the beginning and listen to the combined medlab effects while
watching the viewer. If the sound works with the picture and sells the idea of a real
machine, your levels are good. If not, this is the time to fix them. Raise or lower the
level of the respirator clip until you like the way it works with the heart monitor. When
you’re finished, stop playback.
Remember, sound mixing has a few delivery rules, but ultimately everything comes
down to sound. Somebody must make the choices and decide whether those choices
work. For this lesson, it’s all you. If it you think it works, move on.
The waveforms in these clips show that the left/right channels in each track are identical.
In this exercise, you’ll change the A6 and A7 tracks to mono and link them as a group for
mixing. First, take a look at the Main 1 output levels for the two stereo tracks and compare
that to the levels after they become mono tracks.
1 From the beginning, play a few seconds of the stereo medlab tracks, and in the Main 1
output meters, look at the output level of the cumulative tracks. Watch for the loudest
levels in the yellow and in the peak indicators.
2 Select both the A6 and A7 tracks. Right-click the A6 track header and choose Change
Track Type To > Mono to change both selected tracks at once.
Why are the levels lower? To emulate the way human ears interpret sound in the
real world, pan laws are applied to levels to compensate for the differences between
mono signals panned to the center and stereo signals panned left and right. In
short, a single-channel sound panned to the center is perceived to be lower in
volume (approximately -3 dB) compared to the same signal playing equally from two
stereo channels. Professional digital audio workstations, such as the Fairlight page,
automatically apply the pan law standards to mono tracks.
NOTE You’ll work more with track pan controls in the next section. This was
just an opportunity to point out the level changes between the converted
stereo to mono tracks.
Meanwhile, to link the two mono channels, you’ll use the Link Group window.
The Link Group window opens, displaying all the tracks in the timeline. If you look
closely, you’ll see that all the mono tracks are brighter to indicate that they are
available for linking.
This window is primarily used to link stereo or surround sound channels that were
imported into Resolve as separate mono channels. However, in this case, you’ll link
the A6 and A7 tracks to create a stereo track. Linking is non-destructive and doesn’t
alter the original files. Furthermore, you can unlink linked tracks at any time in the
same window.
5 In the Link Group window, click the MEDLAB 1 and MEDLAB 2 buttons to select those
tracks for linking.
In the Link Group window, the two linked tracks have a dark background and a bar
connecting them to indicate that they have been linked.
You can instantly recognize the linked tracks by the white vertical bar to the far left of
the track headers and the channel indicators that show that they are mapped as L (left)
and R (right).
8 Resize the tracks vertically until they all fit in the timeline.
9 Drag the left edge of the mixer to the left to extend it to see all the channel strips.
Now that you’ve linked the tracks, they should sound just as they did before, right? Never
assume anything in audio mixing. In fact, you should get in the habit of auditioning
changes in the context of the entire mix as you make those changes. Colorists have the
advantage of instantly seeing every miniscule change they make. However, in audio
mixing, you start playback and then rely on experience, your ears, and the meters.
10 Start playback from the beginning and listen to the linked medlab tracks.
11 In the mixer, lower the level of the A6 fader to peak at around -25 dB and
stop playback.
As promised, you can now control the linked tracks using a single channel strip in the
mixer. However, you may have noticed a pronounced difference in the medlab sound
effects during playback. Let’s hear it in context with the other tracks.
12 In the mixer, click the Solo button on the A6 channel strip to unsolo the linked tracks.
13 Play the beginning of the timeline and listen to the medlab effect along with the other
tracks. Stop playback before Philip’s first line of dialogue.
Wait! What happened to the medlab effects? They used to sound like one machine in the
middle of the room, and now they sound like two machines on opposite sides of the room.
No worries, you just experienced the power of track panning, which you will explore in the
next exercise.
NOTE Another method for controlling similar tracks with a single fader is to use a
bus, as you will learn in a later lesson.
1 In the index track list, click the visibility icon for the A14 track. Then hide the index.
3 Unmute and then solo the A14 track and start looped playback. If the level of the
reference sound effects track bothers you, feel free to click the DIM button for this
panning exercise.
In the panning controls, the green dots represent the spread and positions of the
speakers for each audio channel. The blue square is a handle that you can use
to move the sound to a specific position in mono tracks or between speakers in
multichannel tracks.
Notice that the A14 track is in the default position with the left and right channels in
the front (upper) left and right positions, and the blue handle is equidistant between
them. During playback, the A14 meter and M1 output meters also indicate an equal
amount of sound coming from the left and right channels.
4 Stop playback. At the top of the Main 1 (Bus1) channel strip, in the Add Effect pop-up
menu, click the Add Effect button (the + symbol) and choose Metering > Fairlight FX >
Surround Analyzer.
7 Using the mixer’s pan controls, drag the blue handle for the 14 SFX Reference to the
upper-left corner of the panning control in the control strip. Then, drag the 14 SFX
Reference blue panning handle to the upper-right corner of the control to pan the
sound fully to the right speaker.
Stereo track panned to Stereo track panned fully Stereo track panned fully
the center (default) to the left speaker to the right speaker
Just like the standard bar meters in the Main 1 channel strip, in all cases the graph
shows that the sound is emitting from both the left and right speakers.
8 Continue looped playback. Drag the blue panning handle to different positions while
listening to the output and looking at the meters.
No matter where the panning handle is placed, with these stereo pan settings, sound
will always come from both the left and right speakers.
9 Right-click the A14 SFX Reference track header and choose Change Track
Type To > Mono.
The A14 track’s panning controls show only the blue handle with no specified speaker
channels. Notice that the signal is focused in the center between the left and right
channels in the Surround Analyzer.
10 Drag the A14 SFX Reference blue panning handle to the upper-left corner, and then to
the upper-right corner, to hear the sound travel from one extreme to the other. Repeat
this pan while watching the M1 output meters and Surround Analyzer to see the stereo
output reflect the position of the single-channel panning handle.
Mono track panned to Mono track panned fully Mono track panned fully
the center channel to the left channel to the right channel
11 Stop playback. Clear the range. Then mute and unsolo the A14 SFX Reference track.
Clearly, the pan controls in the mixer are a quick and easy way to pan your stereo and
mono tracks. But what if you want a stereo track to sound more like a mono track?
1 In the mixer, solo the A6 MEDLAB 1 track. Then, double-click the track’s Pan controls to
open the Audio Pan window.
Where you place audio tracks within this panoramic space will reflect where the
audience will locate each audio source. The Spread control is for linked sources.
Divergence determines the distribution of the audio signal to additional speakers in a
stereo or surround mix, and Boom determines how much of a track’s sound is sent to
the low-frequency effect (LFE) speaker.
The A6 MEDLAB 1 track is currently panned to the front with the left channel going
to the far-left front speaker position, and the right channel going to the far-right
front speaker position. No wonder it sounds as if the respirator and heart monitor
are on opposite sides of the room; that’s exactly how the linked track is panned. Let’s
start playback and narrow the stereo spread to bring the sound of the left and right
channels closer together.
2 Turn off the DIM button, if necessary. Move the Surround Analyzer to the left of the
MEDLAB 1 channel strip.
4 Start playback from the beginning of the timeline and listen to the current placement
of the heart monitor to the left and the respirator to the right.
NOTE If you hear the heart monitor to the right and the respirator to the left,
your headphones are on backward or your speakers are transposed.
6 Continue playback and drag the blue pan handle anywhere within the panoramic
field to hear the medlab effects move between speakers. Then, drag the handle to
the center position on the panoramic graph. Use the Left/Right and Front/Back fields
as a guide to see when the position is centered exactly ( C ).
NOTE You may or may not hear the sound change from front to back when
you are listening through stereo speakers or headphones. Also, if you are
monitoring audio through an audio interface and mixer that outputs only left
and right channels, then you may not hear any output that is not panned to
the front left or front right. To monitor the surround channels, you also need a
surround output bus. You’ll work more with busses in subsequent lessons.
7 Start playback from the beginning. Drag the Divergence control clockwise to
around 20.
The green line indicates the perceived size of the source sound.
8 In the Divergence controls, click the 2D button to show a circle representing the
perceived size of the source audio.
The Divergence and Spread adjustments scale the cumulative medlab sound effects to
sound as though they are coming from the large medical device shown onscreen. Now,
let’s try setting the volume level in the context of the other tracks. For this exercise,
focus on the sound of the medlab effects before Philip’s first line of dialogue.
11 Play the timeline from the beginning and adjust the A6 fader so the volume fits into
the scene as a realistic background sound. If you aren’t sure of the level, try setting a
level between -25 and -30 in the mixer. When you are finished, stop playback and close
the Surround Analyzer.
Wow! Goosebumps. Suddenly, the medlab looks and feels (and sounds) real. The medlab
effects have come a long way since the beginning of this lesson. Finally, they are working in
harmony with the other tracks and really “sell” the whole medlab location. And as you just
witnessed, finding the right levels and track panning can make a huge difference in the
impact of each track.
Let’s open the 3D pan controls for the A14 SFX Reference track to see and hear the
3D controls.
Just like the standard surround panning controls, these controls include a panner
viewer that displays a large 3D representation of the listener’s perceived sound
stage with a blue sphere representing the track audio being positioned within that
sound stage.
To the right of the panner viewer are the 2D Front, Side, and Top panner controls for
placing sound on specific axes.
— Front panner controls the horizontal left/right and the vertical up/down axis.
— Side panner controls the front/back and up/down axis.
— Top panner controls the left/right and front/back axis.
Let’s solo the A14 SFX Reference track to hear it in the 3D panoramic space.
At the moment, the SFX reference sound is still in the front center position. To change
the position of that sound in 3D space, drag the corresponding blue pan handle in the
Front, Side, or Top panner controls. With DaVinci Resolve 18, you can also drag the blue
handle in the graph. There are also green crosshairs that illustrate sound placement
within the room.
3 In the Top panner, drag the blue pan handle down to move the track’s audio toward
the back and to the left of the 3D space. Watch the blue sphere in the 3D graph as it
moves in the same pattern along the same path.
5 Experiment with the different panners to move the sound sphere within the sound
stage. When you’re finished, reset the pan controls and close the window.
As you can see, the Fairlight 3D panning controls make it easy to place sounds in 3D space.
So, when your projects require object-based 3D panning, you know where to perform it.
For now, let’s return to the current mixing project and use a plug-in to control a track’s
stereo spread. You will work more with the 3D panner and immersive formats in Lesson 14.
NOTE DaVinci Resolve also includes a Space View scope that can be used to help
visualize your 3D immersive track. You can find the Space View scope in the Fairlight
menu under the Immersive submenu.
1 Solo the dialogue tracks A1 through A4. Play the dialogue exchange starting with
Philip’s first line and ending with ADA’s line, “I cannot explain this discrepancy”
(01:00:22:00 - 01:00:47:20). Listen to the panoramic placement of the tracks.
Could you hear the difference in panning between the human voices and ADA’s voice?
Emiliana and Philip’s voices seem to come directly from the middle of the screen (Front
Center), whereas ADA’s voice has a much wider sonic spread.
In the mixer, the A1 and A2 tracks are mono and panned to the front center position.
The A3 track is stereo with a full left-to-right spread.
NOTE Although ADA’s voice was recorded in mono, the doubled voice effect
was finished by bouncing the tracks to a single rendered stereo clip.
2 At the top of the A3 channel strip, in the Add Effect pop-up menu, click the Add Effect
button, and choose Spatial > Fairlight FX > Stereo Width.
The Stereo Width plug-in is added to the A3 Effects slots along with the Flanger and
De-Esser plug-ins. The Stereo Width plug-in window opens.
You can apply the Stereo Width plug-in to any stereo track and quickly adjust the
stereo spread from mono to stereo, to super wide, or anywhere in between. Diffusion
adds complexity to the output signal, and Sparkle increases the high-frequency gain.
3 Mark the first clip in the A3 track. If necessary, turn on the looped playback.
Mono width
You can clearly hear the difference between the mono and super wide settings. The
super wide setting sounds interesting, but it is spread so far that it may become a little
distracting in the dialogue scene. Let’s narrow the width so that ADA sounds as if she is
coming from multiple built-in speakers without a specific point of origin.
6 Stop playback. Unsolo the dialogue tracks and play that section to hear the dialogue
panning along with the other tracks.
ADA’s stereo panning works great to distinguish her disembodied voice from the two
human characters in the room.
c) Monitoring panel
d) Control room
e) Loudness controls
3 True or false? It is possible to use the controls in the Audio Pan window to make a
stereo track sound like a mono track.
4 In the Fairlight page, how can you link two mono tracks as a single stereo track that
uses a single fader control?
a) Channel mapping controls
2 a
3 True
4 c. Link the tracks in the Link Group window, available in the Fairlight menu.
Low numbers represent low frequencies, and high numbers represent high frequencies.
When you change the amount of gain in a frequency range, you either boost (increase)
or attenuate (reduce) the volume level of the frequencies within that range. Filtering out a
specific frequency or a narrow range of frequencies is referred to as notching or cutting.
The audible frequency range for the average human is between 20 Hz and 20 kHz (or
20,000 Hz). These frequencies are divided into three main categories:
— Bass 50–250 Hz
— Midrange 250–2300 Hz
— High 2500–20,000 Hz
The fundamental frequencies for human voices sit right in the low to lower-middle of the
audible frequency range and vary between men, women, and children:
— Men 80–160 Hz
— Women 165–255 Hz
— Children 250–300 Hz
Applying Equalization
to Dialogue Tracks
Equalization (EQ) controls manipulate specific frequencies to shape or enhance the overall
sound and are just like working with color, saturation, and hue in color correction. For
example, the human voice is based on a fundamental frequency shared by millions, but
additional frequencies add tonal qualities to “color” each voice and make it unique and
recognizable. The primary function of equalization is to lower frequencies that detract
from the voice and boost frequencies that clarify the overall sound.
In the following exercises, you’ll look at two EQ techniques during mixing. First, you’ll use
the six-band EQ on ADA’s track to diminish ADA’s voice to sound as if it is coming from
speakers in the ship. Then, you’ll apply EQ to Emiliana’s track to “sweeten” her voice.
This timeline includes all the pre-mixing work that you performed in the previous
lesson already applied.
2 Select the A3 ADA VO wFX track to brighten it in both the mixer and timeline.
Although selecting tracks isn’t a necessary step, it does make the tracks and clips
easier to spot while you work.
3 Solo the A3 ADA VO wFX track. If necessary, set a play range around the first clip in
the A3 track.
4 In the mixer, on the A3 Channel strip, double-click the EQ area to open the Equalizer
window. Move the Equalizer window to the timeline area to the left of the mixer.
5 In the Equalizer window, click the Band 1 and Band 6 buttons to turn on the high-pass
and low-pass filters.
Your goal in the next step is to carve away the high and low frequencies to limit the
bandwidth of ADA’s voice until she sounds more like her voice is coming from speakers
in the ship. Instead of doing this by the numbers, you’ll use your ears to determine
how slight or extreme to make the effect. The quality and quantity of the speakers
Keep in mind that vocal clarity depends on the frequencies around 100 Hz–300 Hz
and intelligibility between 1 kHz–3 kHz. Both clarity and intelligibility are necessary for
great-sounding dialogue. You can carve away one end or the other for effect, but just
keep in mind that carving both ends too far may make it difficult for the audience to
understand the spoken words.
6 Start looped playback and listen to ADA’s voice while you drag the low-pass handle (6)
to the left and the high-pass handle (1) to the right, limiting ADA’s vocal frequencies
until her voice sounds like it is coming from speakers.
Using the low- and high-pass filters to limit the audible frequencies in ADA’s voice
track also lowered the overall level of her dialogue. If you noticed this on your own,
great ears! You can use the Gain slider on the right side of the EQ window to increase
the track level and make up any difference caused by the equalizer. Each time you add
processing to a track, it’s important to check and adjust the gain as you go to keep the
levels clean, clear, and right where they should be in the mix. This technique is referred
to as “gain staging” and is an incredibly important fundamental in mixing.
8 Un-solo the A3 track and listen to it in the context of the other tracks. Make additional
adjustments to the high-pass and low-pass handles to get the effect you want. When
you’re satisfied with the results, stop playback.
Before you close the Equalizer window, this is a good time to do a quick before and after
comparison of ADA’s voice with and without the newly applied EQ.
In this exercise, you’ll use the A/B Comparison toolset to first compare the settings you made
to the default settings. Next, you’ll copy the settings from A to B and adjust the B settings
and compare. Finally, you’ll apply an EQ preset to the B controls then compare the result to A.
Keep in mind that your overall goal is to find the best computer voice for ADA in this scene.
1 Locate the A/B Comparison toolset at the top of the Equalization window.
2 Start looped playback of ADA’s voice. Feel free to narrow the play range to include only
a section of ADA speaking.
3 Continue looped playback. In the Equalizer window, click the B button to toggle on the
B set of controls.
4 Continue looped playback, click back and forth between the A and B buttons to hear
ADA’s voice with and without the changes you applied earlier.
5 Click the A button to load the A controls, and then click the arrow button between A
and B to copy the A settings to the B bank of controls.
6 Click back and forth between A and B to see and hear that they have identical settings.
You could modify the B settings to try a similar but different-sounding effect. Instead,
let’s try one of the new EQ presets that come with DaVinci Resolve 18.
9 Start looped playback and listen to the Telephone effect preset. Click back and forth
between B and A to compare the different EQ settings. Choose your favorite and
leave those settings active in the Equalizer window. When you’re finished, stop looped
playback, clear the play range, and close the Equalizer window.
Now that you have selected a favorite setting, your mini mixing mission has been
accomplished…for now. Just remember that more likely than not, if you are in a mixing
session with clients, they will want to hear another version of the effect or suggest
changes. Clients also appreciate being able to listen to and compare things for themselves.
Fortunately, you already have a plan B (A or B) ready to play and compare with a click
if needed.
200 Hz–500 Hz Just right sounds warm; too high can sound boxy
TIP A common rule of thumb when adjusting dialogue EQ is to “cut narrow and
boost wide.” Also, a little EQ goes a long way, so when possible, make subtle
changes (no more than 2–3 dB) just as you would when adjusting hue on the
color wheel.
Every voice is different, so no single EQ setting will magically improve all your dialogue.
However, you can tweak three key areas that will usually improve the overall sound
of dialogue.
First, you’ll start with a high-pass filter to roll off all the bass frequencies below 85 Hz.
Next, you’ll sweep the midrange frequencies around 250 Hz. This is the beefiest range of
most voices and can often become boxy, muffled, or muddy. Attenuating a wide range of
midrange frequencies, even by just a few decibels, can really warm up a voice and improve
its clarity. Finally, you’ll enhance the high frequencies to add vocal presence, intelligibility,
and sparkle by applying a nice wide boost around 3–5 kHz.
TIP You should first find and cut, or attenuate, the frequencies that detract from
the dialogue, and then boost the frequencies that sweeten the voice.
NOTE If a track is distracting you during looped playback, such as the medlab
effects in A6, feel free to mute that track while you sweeten the dialogue.
4 In the Equalizer window, turn on Band 1. Listen to Emiliana’s dialogue while you drag
the Band 1 handle right to around 85 Hz. You can watch the Band 1 Frequency field to
see the current position of the handle.
You probably won’t hear any dramatic changes to the dialogue track by rolling off
the bass frequencies, and some re-recording mixers are against the idea entirely.
However, unless the voice you are working with is heavy on the bass end, you’re
unlikely to find any voice-enhancing frequencies below 85 Hz.
You can see the tracks frequencies for yourself with the help of a Fairlight FX plug‑in
that you’ve already used. In fact, DaVinci Resolve 18 offers two different Fairlight
FX plug-ins that can show frequencies in real time: Frequency Analyzer and Noise
5 In the mixer, in the A1 EMILIANA channel strip, click the Add Plug-In button
(the + symbol), and choose Restoration > Fairlight FX > Noise Reduction. Move the
Noise Reduction window above the Equalizer window so that you can easily see both
graphs at the same time.
Why are you adding the Fairlight FX Noise Reduction plug-in to a track in the middle
of this EQ sweetening session? Because this plug-in includes a powerful frequency
analyzer that displays the track’s frequencies during real-time playback. If you look
closely, you’ll see that both the Noise Reduction and EQ graphs show the same
frequency range from 20 Hz to 20 kHz.
If you recall, the purple line in the Noise Reduction graph represents the noise profile,
whereas the white line displays the live frequency analysis. If you reset the noise
profile, no frequencies will be removed from the signal until you click the Learn button.
In this case, you will just reset the noise profile so that you can focus on the white
graphical representation of the vocal frequencies.
Now you are free to use the frequency analyzer as a guide while sweetening your tracks.
7 Start looped playback and watch the graph in the Noise Reduction window to see a live
frequency analysis of Emiliana’s voice.
As expected, the meatiest part of her vocal lives between 100–500 Hz.
NOTE You can leave the Noise Reduction plug-in applied to the track while
you finish the sweetening in case you wish to see the frequency analyzer again.
When you are finished with the EQ, you can delete the plug-in from the track.
Next, you can start sweeping Band 3 around 250 Hz with a wide bell curve to
hear what happens if you boost or attenuate around that range. As you sweep,
exaggerating the height of the bell curve by at least +10 or -10 dB will help you
determine how much adjusting the 250–500 Hz range affects this voice.
9 Start looped playback. Drag the Band 3 handle up to around +10 dB and listen to
Emiliana’s voice as you sweep the frequencies between 250–500 Hz. Experiment to
determine if tweaking within this range improves her voice or amplifies irritating vocal
qualities. Drag the Band 3 handle below the 0 dB line to around -10 dB and sweep the
same frequency range. When you are finished, stop playback.
10 Start playback and listen to Emiliana’s voice as you drag the Band 3 handle down by
around -2.0 dB at 350 Hz to attenuate that frequency range.
TIP The secret to finding the sweet spot for vocal presence is to sweep
for sibilance, and when you find the annoying esses and whistles, back off
by 1–2 kHz and then reduce that amount to accentuate just a touch of brilliance
in the voice.
11 Start looped playback, if necessary. Sweep the Band 4 bell curve between 3–8 kHz
and listen for the sibilant esses and whistles. Sweep slightly toward the left until the
sibilance is gone, and then lower the curve to around 1–3 dB. Trust your instincts and
your ears. However, if you aren’t sure, try boosting by +2 dB at around 3.70 kHz.
12 During playback, toggle the Equalizer Bypass button off and on several times to hear
the difference in Emiliana’s voice without and with EQ applied.
13 Stop playback, close the Equalizer window, and clear the play range.
Though subtle, the EQ improves Emiliana’s voice significantly. This is another reason to
separate each character’s dialogue to its own track during editing so you can not only
balance the volume levels but also apply equalization to the entire track.
NOTE In DaVinci Resolve 18, you can choose the order of processing for each track
from the Order dropdown menu at the top of each channel strip. The default order
is F-E-D (FX, EQ, Dynamics). Other options in the Order dropdown menu include
EQ>DYN>FX, EQ>FX>DYN, DYN>EQ>FX, DYN>FX>EQ, and FX>DYN>EQ.
If you recall, the difference between the loudest and quietest levels in a track is its dynamic
range. If you’ve ever worked with a waveform or Parade scope in the color page, controlling
a track’s dynamics is very similar to adjusting the white and black levels of a clip. Just think
of white as the loudest and black as the quietest.
In this set of exercises, you’ll apply compression to two dialogue tracks. First, you’ll apply
heavy compression to ADA’s track to emulate the processed yet consistent levels that
commonly suggest computer-generated voices. Then, you’ll apply standard compression
to Philip’s track to help his voice stand out in the mix.
1 Solo the A3 track. In the A3 track, set a play range around the first clip.
The Fairlight page Dynamics controls include four tools for modifying a track’s dynamic
range. So far, you have used only the Gate to eliminate low-level noise.
The Compressor is the most common control and is used to narrow the dynamic range
by lowering the highest peaks and bringing them closer to the lowest peaks. It’s a
great tool for bringing out some of the quieter spoken words, while simultaneously
lowering the level of the loudest words.
In this exercise, you’ll apply heavy compression and boost overall gain in the ADA
VO track to further suggest an acoustically constricted speaker sound. Adjusting the
frequencies was just the first step. Compressing the dynamic range will further modify
the computer’s voice to emulate the under-the-hood vocal processing in computer
speakers and two-way radios.
3 Start looped playback. In the Dynamics - ADA VO wFX window, watch the Input meters
to determine the lowest level (solid green) and the highest peak (yellow). When you are
finished, stop playback.
The lowest level was around -25 dB, while the highest was around -12 dB. This track
has a whopping 13 dB dynamic range! If you recall from when you were balancing
dialogue tracks, the lowest dialogue level for a whisper is -20 dB, and a loud voice
averages around -10 dB. That’s only a 10 dB difference between a whisper and a loud,
booming voice. Clearly, the dynamic range in this track is far too wide.
NOTE If you’re wondering why ADA’s levels are so much lower than the original
tracks that you balanced long ago, it’s because all the plug-in FX, EQ, panning,
and processing has taken a cumulative toll on ADA’s levels. So, while working
with the compressor, you can also boost the gain to return that output to
nominal levels.
Because ADA is supposed to have an artificial voice, the dynamic range should only
be around 2–3 dB. You can compress that dynamic range with—you guessed it—the
compressor.
The default compressor settings include a Threshold of -15 dB and a Ratio of 2.0:1.
The Threshold indicates where in the dynamic range you want to start compression.
So, in this example, any peaks over a Threshold value of -15 dB will be compressed by
a 2:1 ratio, which means that for every two decibels increase over -15 dB, only a 1 dB
increase will be permitted. When a track has a wide dynamic range, you can apply a
higher ratio value, such as 5:1, so that for every 5 decibels of increase over -15 dB, only
a 1 dB increase will be permitted. The heavier the compression, the more likely you will
start to hear it in the sound quality. However, because this scene features a computer
voice emitted from multiple speakers, the more compression, the merrier.
The lowest levels are between -25 and -30 dB, which is lower than the current Threshold.
The compression clearly worked, because the clip now has a dynamic range of around
3 dB. With this much compression applied at -25 dB, notice that the graph of the upper
end of the decibel curve (light green) is nearly horizontal, as are the peaks.
Let’s boost the gain to more clearly hear the heavy compression and make up for the
loss of gain caused by all the other effects and processing. The Make Up gain fader
lets you raise the overall sound level coming from the track’s compressor. You can still
adjust the track’s overall output level independently using the track fader in the mixer.
8 Un-solo the A3 track. Play the timeline to hear ADA’s compressed voice along with the
other tracks. Toggle the Compressor switch off and on to compare the voice without
and with the compression applied. When you’re finished, move the Dynamics window
to the lower-right corner of the screen and clear the play range.
NOTE The Dynamics, EQ, and Pan windows always update to show the
selected track. To save time during mixing, instead of closing the Dynamics, EQ,
or Pan windows, you can simply select the next track that you need to work on.
Let’s start by finding the high and low average levels in Philip’s track. To do so, you can
mark a play range around a group of clips.
1 Solo the A2 PHILIP track. Press R to enable Range Selection mode and drag a play
range around the four consecutive clips in the middle of Philip’s track (approximately
01:00:58:10 to 01:01:20:22).
Dragging the play range in the A2 track automatically selected the track and updated
the Dynamics window accordingly.
2 Start looped playback. In the Dynamics - PHILIP window, watch the Input meters to
determine the lowest and highest peaks.
3 Click the Compressor switch to enable the compressor controls. Look at the Output
levels during playback.
The default compression settings are working on this track. However, the dynamic
range is still a little high for conversational dialogue. Let’s lower the Threshold, raise
the Ratio slightly, and raise the Attack level to give the compressor a faster attack time
when it encounters levels above the threshold. Remember, the compression Threshold
value is the level at which the compressor kicks in; so, if you have strong dialogue
tracks, you can play it a little lower to rein in more of the louder peaks. In most cases,
you’ll set your dialogue compression Threshold between -10 to -20 dB.
4 Un-solo the A2 PHILIP track. Start looped playback, if necessary. In the Dynamics
window, set the compressor Threshold to around -20 dB, Attack to 20 ms, and Ratio to
around 3.0:1. Close the Dynamics window.
5 Clear the play range and play the scene from Philip’s first line of dialogue (around
01:00:22:00). Listen to the cumulative results of your dialogue sweetening and
dynamics processing. When you’re finished, stop playback.
1 Choose Fairlight > Presets Library to open the Presets Library window.
2 In the Presets Library tracks list, select the ADA VO wFX track.
In the dropdown menu, you can save Equalizer, Dynamics, Plugins, or Global track
presets such as volume, panning, and track color. For this example, you’ll create a
Global preset for ADA’s computer voice.
5 Click the Save New button to open the Create Global track preset dialog. Name the
preset ADA computer voice, and click OK.
This is an alternate version of the previous timeline in which the A3 ADA VO track has
no plug-ins, EQ, or Dynamics applied.
7 Click anywhere in the Presets Library window to update it to the new timeline.
8 In the Presets Library, select the ADA VO track. Select the ADA computer voice global
track preset and click Apply
All the settings, including track color, are applied to the ADA VO track.
As you can see, the Presets Library offers a powerful way to save and apply your track
settings throughout the post-production process.
In this exercise, you’ll work with a different scene from Hyperlight that has a heavy music
bed under the dialogue. First, you’ll apply compression to the dialogue tracks. Then, you’ll
set up the sidechain compression on the Music track so that the music level is reduced
whenever dialogue is spoken in the dialogue tracks. Let’s get started.
3 Play the timeline and listen to the competing music and dialogue levels.
4 In the mixer, open the Dynamics window for the A1 EMILIANA track and turn on the
compressor.
For this exercise, you’ll use the default compressor settings on the A1 and A2 tracks.
5 On the right side of the compressor settings, click the Send button to send the levels
of this track to the compressor on another track.
Notice that the Send button turns yellow when active. Also, the Bus Outputs section of
the mixer shows that the signal will be output via sidechain compression in addition to
the Main 1 and 5.1 bus outputs. You’ll learn more about busses and signal routing in
the next lesson.
7 Click the header for the Music track to select that track and update the Dynamics
window to the newly selected track.
8 Turn on the compressor. Click the Listen button to automatically feed all “sent” levels to
the sidechain of the compressor on this track.
9 Set a range around the first dialogue exchange between Emiliana and ADA that
includes Emiliana’s first line, “ADA where am I?” and ends after ADA’s line, “Philip’s
cryopod has lost power; his oxygen level is critical.”
If you aren’t sure what values to set, try a Threshold around -30 and Ratio of 4:1 or 5:1.
12 Expand the range from the beginning of the first yellow clip in the A1 track to the
beginning of the fourth yellow clip. The expanded play range will make it easier to
smooth the transition between the music with and without dialogue.
The music is now compressed to be less loud during dialogue. Now it’s time to adjust
the Attack value to determine how quickly the music level is reduced, raise the Hold
value so the music level doesn’t fluctuate wildly, and increase the Release value so the
volume adjustment won’t end too abruptly. These controls are easier to use during
playback when you can hear them in action.
13 Select the Music track, if necessary. Start looped playback and change the Attack
value first to determine how quickly (by milliseconds) the music level is lowered when
dialogue levels are detected.
14 Set the Hold value to smooth how long the level stays consistent.
15 Set the Release value to determine how gradually the music level will return to the
uncompressed level.
16 When you’re finished, clear the range and play the entire scene from the beginning to
hear your ducking in action. Feel free to reopen the Dynamics controls for the Music
track to further modify the levels.
These controls take practice, so the more you use them, the easier it will be to set
up and apply sidechain compression to your own projects. However, as you can
hear for yourself, this is an awesome way to quickly “duck” your music levels beneath
your dialogue tracks. If you would like to open a finished example of this scene with
sidechain compression applied, open the timeline 11 Auto Ducking Finished. As a
result, you should hear that whenever speech plays, the music volume is automatically
lowered. Adjust the Threshold and Ratio to set the amount of this gain reduction
and adjust Attack, Hold, and Release to set how quickly gain reduction responds to
changes in the sidechain level (as defined by the Send levels).
The levels may be playing nicely, but they are competing in the same frequency range.
2 In the timeline, set a range that includes the first two orange clips in the A2 track.
3 Select the music track. In the mixer, double-click the EQ area of the Music channel strip
to open the EQ window.
4 In the EQ window, drag the Band 3 bell curve all the way to the highest position, +20
dB. Start looped playback and listen to the music’s exaggerated mid-low frequencies
from the bell curve. Sweep the curve toward the left and right between 100–500Hz to
hear how the different frequencies “muddy” the dialogue.
If you recall from earlier in this lesson, we used the Noise Reduction plug-in to see
the frequency analyzer of her voice and that the meatiest part of her voice is between
100–500Hz. Therefore, that is the same range that needs carving. First, you’ll need to
widen the bell curve by adjusting the Q Factor control.
6 Continue playback and drag the bell curve down to -20 dB, and then sweep the wide
curve between 125 and 500 and listen to the simultaneous change in dialogue clarity
at the expense of the robust musical score. Set the Band 3 Frequency to around 200.
7 Narrow the play range to Emiliana and ADA’s first lines. Set the curve to between -5 dB
and -10 dB. Toggle the EQ window off and on to hear the difference with and without
the carving.
The next time you have background or music tracks that are competing with your
dialogue tracks, and you don’t want to lower the levels, break out your EQ and
carve away!
Now that you’ve applied EQ to Emiliana’s track and compression to Philip’s track, it’s time
to finish the dialogue sweetening. Take a few minutes to add a little EQ to Philip’s track and
some compression to Emiliana’s. Feel free to proceed on your own without any guidance.
Or, you can apply the methods that you used earlier for ADA. Your final goal is to deliver
great-sounding dialogue in your soundtrack—even if one of the characters sounds like
a computer.
c) To reduce the dynamic range between the loudest and quietest peaks in the track
3 Where can you save global track settings so that you can apply them to another track?
a) Dynamics window
b) Media pool
c) Effects Library
d) Presets Library
4 True or false? Applying EQ carving to a music track is the same as adding keyframes to
the volume curve to dip the track’s sound when there is spoken dialogue.
2 a
3 d
4 False
Simplifying the
Mix with Busses
NOTE If you are working with an earlier version of DaVinci Resolve, you will be
limited to the legacy Fixed Bus format. Not to worry; the Hyperlight project uses the
Fixed Bus format and has not created any workflow limitations.
The new Bus Test project opens. Notice that the meters and mixer show a single
output bus: Bus 1. All projects are created with an output bus, even if there isn’t a
timeline or media. To use the bus, there must be a timeline.
5 In the Create New Timeline dialog’s Timeline Name field, type Flex 20. Set the No. of
Audio Tracks to 20. Click Create.
6 Expand the mixer for a better view of the tracks. Notice in the Bus Outputs section of
the mixer that each track is assigned to Bus 1.
The Bus Format dialog includes buttons to Add Bus, Duplicate, and Remove busses.
Here you can also change a bus name, format, and color.
As you have just witnessed, new projects and timelines come with all tracks automatically
assigned to the Bus 1 output. Now let’s change the project to the legacy Fixed Bus format.
The Bussing mode area near the top of the Fairlight settings includes a single
checkbox option to “Use fixed bus mapping.” At the moment, this option is unavailable
(dimmed) because the project contains a timeline and therefore is not empty.
3 In the media pool, select the Flex 20 timeline and press Delete. In the Delete Selected
Timeline dialog, click the Delete button.
Now the project is empty, and you can change the bus format.
5 In the Bussing mode settings, check the “Use fixed bus mapping” option. Then
click Save.
The Project Settings window closes, and the empty project updates to the Fixed Bus
format. You can easily identify the Fixed Bus format because the default output bus is
automatically assigned as M1 (Main 1).
The Fixed 20 timeline opens with 20 stereo tracks and one bus (Main 1) showing in the
timeline, monitoring panel, and mixer.
If you look closely at the mixer labels, you’ll see that instead of a Bus Outputs label,
you’ll see a label titled Main. Within the Main row on each channel strip, you will see a
[1] that indicates there is 1 main bus and that the tracks are assigned to that bus.
Technically, the output for either timeline Flex 20 or Fixed 20 would sound identical
because in both cases each track’s signal flows to a single output bus.
Let’s look at the Bus Format window to see how it differs from the Flex Bus project.
NOTE The channel format of each bus can be changed any time in the Bus
Format window, regardless of whether the project is mapped to the Fixed Bus
or Flex Bus format.
With DaVinci Resolve 18, you can convert a legacy Fixed Bus project to the Flex Bus
format with a single click. In fact, the Hyperlight project that you’ve been working with
was recently converted from Fixed Bus to Flex Bus for this training guide. Let’s convert
the current empty project to the Flex Bus format.
11 In the Bussing section of the Project Settings Fairlight panel, click “Use fixed bus
mapping” to deselect that option.
The Fixed Bus project and Fixed 20 timeline are now in the Flex Bus format. Notice that the
bus is called Main 1 instead of Bus 1. That is a telltale sign of a converted project. It is also
useful in the next series of exercises because the Hyperlight project was also converted
from Fixed Bus to Flex Bus and therefore the busses will have literal names based on their
function, as they did once upon a time when they were Fixed.
Now that you’ve seen and compared the default bus settings for new projects in both Flex
Bus and Fixed Bus formats, you’re ready to start working with busses in the Hyperlight and
GOW trailer projects.
NOTE For more detailed information on the different types of busses, please refer
to the Fairlight chapters in the DaVinci Resolve User Reference.
2 In the Project Manager, locate the version of the Hyperlight Audio Post project that
you have been working on for the previous lessons. It should have your initials after
the name of the project.
3 Double-click the icon for your working copy of Hyperlight to open the project. You may
be prompted to save changes to the Bus Test project. Click Save.
Since you reset the UI layout in the previous exercise, the viewer, monitoring panel,
and mixer have returned to their default size and position.
7 Hide the media pool. Adjust the height of the monitoring panel and mixer as well as
the position of the viewer to your liking.
In the next series of exercises, you’ll create an auxiliary bus with reverb for the dialogue
and medlab effects.
2 Choose Fairlight > Bus Format to open the Bus Format window.
The project currently contains one bus: the default main bus named Main 1 (M1),
named as such by its Fixed Bus origins. This Main 1 bus is, as the name suggests, a
main output. The Format and Channels columns indicate that this bus is in stereo with
two channels (left and right).
3 Click the Add Bus button to add a new bus to the list. This bus (Bus 2) will be used as an
auxiliary bus for the Reverb effect.
The new Bus 2 appears below Main 1 in the Bus Format pane.
Let’s rename the bus and change its color. Because most of the tracks are mono, you
can leave the Format set to mono. If you need to change the Format from mono to
stereo, you can do so at any time in the Bus Format window.
4 In the User Name column, double-click the Bus 1 name, and enter VERB (an
abbreviation for reverb).
5 In the Color column, change the VERB color pop-up menu to beige.
You are all set up with the Aux bus. The next step is to add the Reverb plug-in.
The Reverb window opens, and the Reverb plug-in appears in the Aux 1 effects slots.
8 In the Reverb window, in the Preset pop-up menu, choose Cathedral. Close the
VERB window.
Obviously, the Cathedral preset is too much reverb for this scene, but it will work great
for demonstrating the auxiliary reverb. You can always change the reverb settings
later. The last step is to send the signal from the tracks to the Aux bus.
The VERB bus is now in the Bus Sends list for the A1 track. If you hover over the bus
name, you can access the Bypass, Controls, and Delete buttons for the VERB bus.
3 Hover the pointer over the VERB bus and click the Controls button to open the Bus
Sends – EMILIANA window.
The Bus Send is already on. The Send Level adjusts the amount of signal sent from the
track to the bus.
4 Drag the Send Level handle to 0.0 to send the full signal to the VERB bus.
5 Play the first clip in the A1 EMILIANA track to hear it with the auxiliary bus Reverb
effect applied.
Hold on. There is no reverb? Why? We forgot to plug it in. That is, in terms of audio
signal flow, the signal may be routed from track to track, track to bus, bus to track,
bus to bus, or all of these options as long as it eventually makes it to an output bus if
you want to hear it. In this timeline, all the tracks are assigned to the Main 1 output
bus as you can clearly see in the mixer. The VERB bus still needs to be assigned to an
output bus.
6 In the mixer, in the Bus Outputs area of the VERB bus, click the Add (+) button and
choose Main 1 from the pop-up menu.
Now you should be able to hear the A1 track with the Reverb effect.
Emiliana’s voice has definitely picked up the reverb. In fact, it’s so wet that her voice
is practically drowning in reverb. No worries, you’ll fix the reverb levels in a minute.
First, let’s send the other tracks that need the same reverb effect. Rather than doing
each track separately, let’s assign the VERB bus to the A2, A3, and A6 tracks at the
same time.
TIP DaVinci Resolve 18 has a new “do to all selected” shortcut feature that is
incredibly handy for applying changes to multiple selected tracks or busses at
the same time. All you need to do is hold the Option/Alt key while making the
changes to a track or bus, and the same change is applied to all selected. These
changes include things like track height, color, track state (arm, solo or mute),
track format, and mixer controls and bus assignments, etc.
9 In the mixer, hold Option/Alt and add the VERB Bus Send to the A2 track.
Next, you’ll use the same Option/Alt trick to adjust the Send Level for all three tracks
at once. Speaking of tricks, you can also double-click the Send Level handle to set it
to 0.0 automatically. Let’s use both time-saving techniques to set up the remaining
Bus Sends.
11 Hold Option/Alt and double-click the Send Level handle on the open Bus Sends
window. It doesn’t matter which selected track’s window is open. Whatever you do to
one will affect all the selected tracks as long as you hold Option/Alt.
The last step is to use the fader on the Bus 2 VERB bus in the mixer to raise or lower
the amount of reverb applied to the sends. This is a fantastic way to control effects on
multiple tracks over time. Keep in mind that any changes you make to the auxiliary bus
levels will apply to all the incoming sends. If you want to vary the amount of the effect
on a specific track, lower the Send Level on that track’s send.
13 Move the playhead to the beginning of the first clip in the A2 PHILIP track.
As you just demonstrated, using Bus Sends and auxiliary busses is a quick and easy
technique for applying effects to multiple tracks.
1 In the mixer, hover the pointer over the Reverb effect in the Bus 2 VERB bus to see the
available options buttons, including Bypass and Controls.
3 In the Reverb window, click the Reset button to reset the plug-in to the default
settings. Feel free to adjust the reverb settings to suit yourself.
The default reverb settings more closely match the room in the scene.
4 Close the Reverb window. Play the scene from the beginning to hear how it sounds
with the reverb applied to the dialogue and medlab tracks.
5 Continue playback and adjust the Aux VERB fader, if necessary, to find a realistic reverb
level for the scene.
It’s truly amazing how the cumulative mixing techniques in this lesson, plus a hint of
reverb, elevate this soundtrack.
Submix busses are signal paths, or vehicles, that route the signal from multiple tracks to a
new channel strip in which the sum of the signals can be controlled as a single track.
In this exercise, you’ll create submix busses for the dialogue, music, and background
FX tracks.
1 In the Fairlight page, choose Fairlight > Bus Format to open the Bus Format window.
2 Click the Add Bus button three times to add three new busses to the list.
The three new busses appear in the Bus Format pane below Main 1 and are
sequentially named Bus 3, Bus 4, and Bus 5. These will be the new submix (sub) busses.
In the Name column, double-click the Bus 3 name and enter DIAL. Then, change the
name of Bus 4 to MUSIC and Bus 5 to BG FX.
3 In the Format column, change the Format of the MUSIC and BG FX busses to Stereo.
Leave the DIAL bus Format as Mono.
4 In the Color column, change the DIAL bus color to yellow, the MUSIC bus color to navy,
and BG FX bus color to pink.
The new sub bus names and colors also appear in the mixer and the meters.
You are all set up with submix busses. The next step is to assign the tracks to go into
those submixes.
The middle section of the mixer always shows your Bus Sends and Bus Outputs as well
as the current signal flow of every track so you know where each is assigned. In this
exercise, use the bus controls in the mixer to assign tracks to one of the new submix
busses that you created. For now, each track will still be assigned to the Main 1 output.
With DaVinci Resolve 18, routing audio from tracks to multiple busses is lossless, so you
can assign a track to numerous busses for more mixing and monitoring flexibility as well as
simplified deliverables later.
In this exercise, you will select all the like tracks and assign them to their intended submix
output bus. Tracks can be selected in the timeline, Tracks Index, or mixer. To keep things
interesting, try all three as you assign tracks to the three sub busses.
1 Drag the left edge of the mixer to the left to expand it, if necessary.
2 Press Shift-Z to fit all the timeline clips horizontally in the visible timeline.
TIP You can expand or compact the mixer at any time by dragging its left
edge. The busses are always visible to the right of the mixer. Also, with
DaVinci Resolve 18, busses can be reordered and moved to any position in the
timeline by simply dragging them up or down in Tracks Index.
4 In the Bus Outputs area of the A1 EMILIANA track, hold Option/Alt and click the Add (+)
button and choose DIAL from the pop-up menu.
The Bus Outputs for the selected tracks now include both Main 1 and the DIAL output
busses. Next, you’ll assign the Music tracks, which in this example includes only one
track. Technically, a single music track doesn’t need a submix bus, but if this were a
large project there might be many more tracks or other reels that do have multiple
music tracks that will be added to this timeline later. Plus, working with submix faders
greatly simplifies mixing, as you will see in a few minutes.
5 In the timeline, deselect all tracks. Select the A10 Music track. This isn’t necessary but
helps in identifying the track you will work with in the mixer.
The last submix bus to assign is the BG FX. For this example, you’ll go to the Tracks
Index to select the A6 MEDLAB 1 track and the A8 DRONE 1 track. The A7 MEDLAB
2 track is still part of a linked group with A6, so it will be included in the selection
automatically.
7 Show the Tracks Index. Select the A6 MEDLAB 1 track, and then Command-click
(macOS) or Ctrl-click (Windows) the A7 DRONE 1 track to select it too.
You have successfully assigned most of the tracks to a submix bus, and you can see
the signal flow easily in the mixer. Let’s do one more thing to further simplify the
signal flow. Instead of the tracks going to both the Main 1 and the submix busses, let’s
unassign the Main 1 output on all the tracks that are also assigned to a submix bus.
You have the skills to do this now, so the directions will be sparse.
10 Select all the tracks that are assigned to a submix bus (DIAL, MUSIC, or BG FX).
11 Hold Option/Alt and click the Delete button (x) on any of the selected tracks in
the mixer.
Done! In just a few clicks, you unassigned the Main 1 Bus Output for seven tracks.
Now that you’ve removed the Main 1 output bus from the individual tracks that are
assigned to submixes, how do you hear them? Right: this is the output bus question
again. If you already realized that you need to assign the submix busses to the Main
1 output bus, you are thinking along the lines of signal flow. If not, the last step is to
assign the submix busses (DIAL, MUSIC, and BG FX) to the Main 1 output bus.
13 In the mixer, select Bus 3 (DIAL), Bus 4 (MUSIC), and Bus 5 (BG FX).
14 Hold Option/Alt and click the Add Bus Output button for one of the selected busses.
Choose Main 1 from the pop-up menu.
15 Now the signal flow of every track and bus ends up at the Main 1 bus output. The only
way to know if it worked is to listen to the playback.
16 Start playback from anywhere in the timeline. You should hear all the tracks as
intended. If not, check the signal flow and try again!
TIP When troubleshooting the signal flow of a “silent” track, look at the track’s
Bus Output and make sure that it has an output bus. If it has an output bus other
than the main output bus used for playback and monitoring, make sure that the
assigned output bus is connected to the main output bus.
The Bus Assign window has two sections. At the top of the window, you’ll find a list of all
available busses. The rest of the window shows the available tracks. In the Available Tracks
area, initials under each track name indicate the current assignment for each track.
When working with a project in the Flex Bus format, all busses can be assigned as a Send
and/or Output. The lowercase initial “s” followed by the bus number and name indicates
the track or bus is assigned to a Bus Send, while a lowercase initial “o” followed by the bus
number and name means it is assigned to an Output Bus.
1 Choose Fairlight > Bus Assign to open the Bus Assign Window.
At a glance, the Bus Assign Window tells the entire story of how the tracks and busses
are assigned. Bus assignments are shown below each track name in the lower section.
Let’s look at the bus assignments in list view.
In list view, you can clearly see the Source, Bus Sends, and Bus Outputs.
NOTE The Bus Assign window can be used to assign and unassign tracks and
busses. For more information about using the Bus Assign window, refer to that
section of the DaVinci Resolve Reference Manual available via the Help menu.
All the tracks are assigned to the main output or a sub bus, so you can see and hear them
in action in the mixer.
1 Press Shift-Z to fit all the timeline clips horizontally in the visible timeline.
2 Play the timeline from the beginning and listen to the current mix.
The mix should still sound pretty good. You haven’t actually changed any of the levels;
you’ve just altered the way that you will control them. You can continue to balance clip
level curves and individual faders as usual.
The BG FX tracks containing the medlab effects seem a little distracting when the
dialogue starts. Also, the Music sounds a bit low at the beginning. You can emphasize
the dialogue by lowering the BG FX submix fader after Philip says his first line and the
medlab is no longer in the shot.
3 Start playback, watch the scene, and move the Bus 5 BG FX fader down until the track
sounds less distracting (about -28 dB). Also experiment with the music levels in the
beginning and return them to their original levels during the dialogue.
4 When you’re finished, stop playback. Double-click the submix faders to reset them.
Now you know why submixes are a Mixer’s best friend. It is much easier to move one fader
that lowers multiple tracks than to manually lower multiple separate faders on-the-fly.
The current timeline has one main output, three submix busses, and 10 individual tracks.
However, depending on the delivery requirements for your final project, you might need
to create additional main output busses in multiple formats. In fact, most professional
projects require several versions of your mix, such as stereo and 5.1 surround.
Furthermore, when dubbing a program into another language, you need to provide an
M&E (music and effects only) version of the mix that is devoid of all intelligible onscreen
dialogue so that it can be replaced by actors speaking their lines in another language.
You can create and assign main busses just as you created submix busses in the Bus
Format window and mixer.
In this exercise, you’ll create a 5.1 surround output bus and an M&E output bus based on
the current mix. Because the M&E mix will be identical to the Main 1 mix without dialogue,
you can simply duplicate Main 1 with all tracks and subs identically assigned and make any
changes to the copy. As for the 5.1 main output, you’ll create that one from scratch.
1 Continue working with the 11 Mixing Busses Start timeline. If you missed any of the
previous steps, open the 11 Additional Outputs Start timeline to catch up.
The duplicate bus appears below the other busses in the list with the name Main 1.
5 Name the duplicate Main 1 bus M&E and Bus 7 bus 5.1.
Although the Main 1 output format is Stereo, you can change it to a different format at
any time or create multiple output busses for each of your delivery formats.
Because you probably are not doing this lesson with a surround sound setup, you can
create the 5.1 surround main with the understanding that you might not be able to
hear all the channels in the surround format.
6 Change the Format of the 5.1 bus to 5.1. Then, change the Color to purple to
distinguish it from the other stereo main output busses.
You now have seven busses to the right of the mixer and on the monitoring panel.
The busses appear in the monitoring panel and mixer in the order they were created from
left to right. Arranging busses by type is often ideal for easy access while mixing.
In this exercise, you’ll simply change the bus order by their function from left to right,
starting with the aux VERB bus followed by the submix busses and ending with the main
output busses.
The busses are in the lower part of the Tracklist below the divider line.
3 In the Tracklist, drag the busses into the following order from top to bottom in the list:
— B2 VERB
— B3 DIAL
— B5 FX
— B4 MUSIC
— B1 Main 1
— B6 M&E
— B7 5.1
The new bus order is shown in the monitoring panel and mixer.
1 In the mixer, using the Bus Outputs as a guide, Command/Ctrl-select all the tracks and
busses assigned to Main 1.
Alas, it’s not possible to select both tracks and busses. Now let’s remove the divider.
3 In the Mixer Options menu (…) choose Single Mixer View. Extend the mixer to show all
the busses if needed.
4 In the mixer, using the Bus Outputs as a guide, select all the tracks and busses
assigned to Main 1.
5 Hold Option/Alt and click the A5 PFX track’s Bus Outputs Add (+) button and choose 5.1
from the pop-up menu.
Only the two selected tracks were assigned to 5.1. You will need to assign the busses
separately.
Assign 5.1 to all the selected busses at once using the Option/Alt shortcut. Deselect
the tracks and busses when finished.
Next, you’ll assign the tracks and busses to the M&E bus. The music and effects bus
should only be assigned tracks and busses that do not contain dialogue. That means
you’ll include everything that you assigned to the 5.1 output bus except the DIAL and
VERB busses.
7 When you’re finished, hide the Tracks Index and condense the mixer if needed.
Your new 5.1 and M&E output busses are set up and ready for monitoring.
NOTE If you didn’t finish all the previous bussing exercises, feel free to open the
timeline 11 Mixing Busses Finished to catch up.
1 Below the viewer, in the Control Room monitoring dropdown menu, choose 5.1.
Notice that six meters are under the 5.1 main, but only the first three channels have
a signal. That’s because this isn’t a 5.1 surround mix, and no signal is going to the LFE
(Low Frequency Effects), left surround, or right surround channels.
No problem. Let’s change the MUSIC submix Format to 5.1 surround. Then, you’ll
re-assign the DRONE 1 track to the Music submix instead of BG FX and change the
pan settings for the DRONE 1 track to place it in the LFE, left surround, and right
surround positions.
4 In the mixer, double-click the A8 DRONE 1 pan controls to open the Audio Pan window.
5 Start playback from the beginning. In the Audio Pan window, drag the blue pan
handle down to the rear center position, which will, in turn, place the two green stereo
channels in the left surround and right surround positions. As you drag the handle,
watch the meters on the M3 main output to see them reflect the audio panned to the
surround channels.
Now a signal is going to all but the LFE channel. To send a signal to the LFE channel,
you use the Boom controls in the Pan window.
The dial in the Boom controls is the track send that lets you determine how much of
the track’s signal is sent to the LFE.
7 Set the Boom send control to around 0.0. Then close the Pan window.
Notice that a blue LFE send bar is now present below the track’s Pan controls in the
mixer to indicate the amount of signal that is sent from the track to the LFE.
8 Start playback from the beginning to see all six surround channels in action in the
M3 meters.
If you continue watching the 5.1 meters, you’ll see that the third channel (Center) is
panned to that channel because of all the dialogue.
Setting up and patching multiple mains is easy once you understand how to create and
assign busses in Resolve.
For this exercise, you’ll switch projects and work with the Girl on Wave trailer project from
Lesson 1.
4 In the Lesson 01 build soundtrack project, open the timeline 5 GOW Trailer to Render.
Then expand the mixer to show all the tracks and busses.
The timeline opens with five busses showing in the mixer and monitoring panel. These
busses include DX, FX, MX, Stereo Out, and -10 dBTP.
5 Play the timeline from the beginning and watch the meters as you listen to
the playback.
What a difference a little signal routing can achieve. In this case, there is a clear
cascading signal routing of all like tracks assigned to submix busses, which in turn are
assigned to the Stereo Out output. Now let’s split the Stereo output to the -10 dBTP bus.
6 In the mixer, click the Bus Outputs Add button (+) in the Stereo Out channel strip and
choose the -10 dBTP bus.
7 Start playback and watch the Stereo Out and -10 dBTP bus meters to see that they
have identical levels. Stop playback.
Next, you’ll add the FairlightFX Limiter plug-in to the -10 dBTP bus.
Notice that the levels on the -10 dBTP never exceed the -10 dB value set by the
limiter plug-in.
— In the Bus Format window, create a new Stereo bus and name it VERB.
— In the mixer’s Bus Sends controls, send each of the FX tracks to the VERB bus.
— Once you route a track to the VERB bus, hover over the VERB send to see the controls
and click the Controls button to open the Send controls.
— In the Bus Sends controls for each track, turn ON the send and set the Send Level to 0.
— Add the Fairlight FX Reverb plug-in to the Bus6 VERB bus.
— Set the Reverb plug-in to the Cathedral preset and close the controls.
— Route the VERB bus to the Stereo Out bus.
— Adjust the VERB bus fader as needed to control the amount of Reverb applied to
the effects.
Congratulations! You have worked with auxiliary, submix, and output busses in both Fixed
Bus and Flex Bus timelines, and you are ready to apply those skills to your own projects!
c) VW and BMW
2 What type of bus can you use to apply one plug-in, such as Reverb, to any track in
the timeline?
a) Main
b) Effects
c) Sub
d) Aux
3 Where do you access the Bus Format and Bus Assign windows?
a) Mixer
b) Monitoring panel
c) Fairlight menu
d) Auxiliary controls
4 True or false? New DaVinci Resolve 18 projects open in the default Flex Bus format.
5 Is it possible to change a project’s bus format from Flex Bus to Fixed bus?
a) Yes, if the project is empty.
2 d
3 c
4 True
5 a
Mixing with
Automation
TIP Re-recording mixers working with large mixing consoles are typically moving
hardware faders during playback and can maneuver their hands around the
controls like a keyboardist playing a church organ. When you’re working in a
software-only environment, you must do the best you can using a mouse or
track pad. You can always record automation to your tracks or submix busses to
help simplify the final mix. Also, numerous hardware mixing consoles, including
the Fairlight Desktop Console and customizable Fairlight Studio Consoles, are
compatible with DaVinci Resolve and its Fairlight page.
2 In the Project Manager, double-click your initialized Hyperlight Audio Post project
to open it.
The project opens in the Fairlight page with the last timeline you were working on
in this project. For this lesson, you will continue with a version of the timeline that
includes all the pre-mixing and bussing applied.
The primary difference between clip automation and track automation is where you place
the keyframes. That’s right: keyframes are used for automation, so you’ve already automated
the clip gain levels on numerous clips in earlier lessons. With DaVinci Resolve’s new vector-
based track automation, you can now apply keyframes to track levels and other parameters
with the same tools and shortcuts that you used for adding keyframes to the clip gain line.
In this exercise, you’ll step through some of the similarities and differences between clip and
track automation in the Fairlight page. Let’s start with a quick refresher on clip keyframes
using the A8 DRONE 1 track as an example. Hide the mixer and monitoring panel (meters).
1 In the timeline, solo the A8 DRONE 1 track. Zoom and resize the track as needed until
you can clearly see the entire first clip.
2 Press A, for Pointer mode, to work with the default selection tool (arrow).
3 On the A8 track, use Option/Alt-click to add five randomly placed keyframes on the clip
gain line. Then drag the keyframes up or down so they are no longer in a straight line.
5 Clear the range. Click the lower half of the clip to select the entire clip. With the clip
selected, drag the gain line up or down to adjust the relative level of the keyframes on
the clip gain line.
Now that you have added and manipulated keyframes, let’s delete them.
6 Click to select the first keyframe on the clip. Shift-click the last keyframe to select them
all. Press Delete.
For this last clip keyframe refresher, you’ll use the Focus mode multi-tool.
8 With the multi-tool, Option/Alt-click to add several keyframes. Move them up or down
randomly. Drag a range around the keyframes and raise the gain line within the range.
Double-click the clip or click the lower half of the clip outside of the range to select the
entire clip. Drag the clip gain line for the selected clip to trim the level. Deselect the clip
and drag a range that includes some of the first and second clips. Drag the gain line
within the selection of the multi-clip range. Clear the range. Keep the keyframes.
NOTE When working with clip keyframes, all three Fairlight editing modes offer the
same keyframe selection and deletion options. You can click to select one keyframe
at a time, Command/Ctrl-click to select additional keyframes, or Shift-click to select
continuous keyframes. To delete keyframes, you can Command-Option-click
(macOS) or Ctrl-Alt-click (Windows) to delete them one at a time, or press Delete to
remove multiple selected keyframes.
Next, you’ll look at track level automation and how you can use the standard tools to
automate track levels.
1 In the timeline toolbar, click the Toggle Automation button to turn on Automation.
2 On the A8 DRONE 1 track header, choose Fader Level from the Automation
dropdown menu.
Now the track displays track automation view, which includes a curve (horizontal line)
for the track’s current automation parameter and darkened clips to make it easier to
see the automation curve while writing and editing track automation.
Changes to the Fader Level also show in the Fader Level track level field and mixer.
4 Show the mixer. Drag the Fader Level curve on the A8 track up and down to change
the value. Watch the A8 fader in the mixer and the Fader Level field on the track
header while you change the level.
As you can see, there is a direct connection between the Fader Level curve on the
track and the corresponding fader in the mixer. All the automation curves have
corresponding controls in the mixer. Now let’s reset the Fader Level curve. How? You
can reset the clip gain line with a double-click on the line. But that does not work for
track automation. Instead, to reset an automation curve to the default value, you
double-click the parameter control in the mixer—in this case, the fader.
5 Double-click the A8 DRONE 1 Fader in the mixer to reset the Fader Level. Hide
the mixer.
NOTE Double-clicking a parameter control to reset the value only resets the
automation curve if there are no automation keyframes on the curve.
Now the clip gain keyframes are back, right where you left them. Let’s delete the clip
gain keyframes and reset the clip levels on all the clips in the DRONE track. The easiest
way to reset the clip levels is to either use Remove Attributes from the right-click
contextual menu or select the clips and reset the Volume in the Inspector. Let’s use the
second method.
7 Select the A8 track header. Press Command-A (macOS) or Ctrl-A (Windows) to select all
the clips in the selected track.
The clip levels have been reset for all the clips in the A8 track. Unfortunately, now all
the clip levels in the track are too high for the mix. You’ll need to lower the clip levels to
a comfortable level for the mix, and then use the fader during the mix to make minor
adjustments to the overall track level. This time let’s use a different method to select
and adjust the levels.
Since the clips are within a selected range, you can adjust all of them all at once by
doing one of the following: drag the clip gain line within the range or use the shortcuts
available in the Clip > Audio menu.
10 Hide the Inspector. Lower the clip gain level for the clips in the A8 track to -7.00 or -8.00.
You also need to lower the fader level for the A18 track. For this, you could either use
the fader in the mixer or simply drag the Fader Level field in the track header up or
down to raise or lower the level. Let’s use the Fader Level field as a reminder that this
handy field can also be used to adjust the fader level when needed.
11 In the A8 track header, drag the Fader Level field to set the level to -15.00.
Excellent work on the clip versus track view level adjustment and reset warmup. Next, you’ll
experiment with Fader Level keyframes using standard tools.
Three things happened when you added the first keyframe to the curve:
— A small white keyframe appeared on the curve where you created it.
— The curve turned green to indicate that automation has been written to the curve.
— The fader turned green to indicate that automation has been written to
that parameter.
4 On the A8 track, add two more keyframes to the Fader Level curve. Then drag the
middle keyframe up or down so that it’s no longer in a straight line.
6 Drag upward on the middle of the three keyframes. Notice the tooltip that shows the
new level and the amount of change while you drag the keyframe.
Next, you’ll try using the Focus mode multi-tool, which offers range selection options
as well as the unique ability to delete keyframes within a range.
8 With the Focus mode multi-tool, add a keyframe to the Fader Level curve. Drag the
middle keyframe downward. Drag across at least two keyframes. Drag the Fader Level
curve within the range upward. Drag a new range that includes all the keyframes on
the A8 track. Drag the curve up or down to trim the level and all keyframes relative to
the curve.
NOTE The new and improved automation curves offer visual feedback of the
curve’s previous position as you make changes to the levels. The actual curve
remains green, while a gray version of the curve remains as a placeholder to
indicate the previous position until the curve is released in its new position.
The automation curve is reset and returns to the default gray color to indicate that no
automation keyframes have been written to this track parameter.
Now that you have experimented with drawing, trimming, and deleting a random
automation curve on a track using standard tools, let’s move on to Fairlight’s powerful
automation toolset that lets you write and trim automation curves during playback.
The automation toolbar includes buttons that control every available option for setting
up and recording automation for your mix. The buttons are organized in groups from
left to right.
You can record automation data in either Write or Trim mode. Write mode records
absolute changes to controls, whereas Trim mode records relative changes that
increase or decrease levels that are already recorded.
The Touch mode settings determine what happens when you begin automation.
When Touch mode is turned off, no automation is recorded. Touch mode includes
three automation recording modes:
— Latch mode begins recording as soon as you touch a control that is enabled for
automation and continues to record automation after you release the control.
— Snap mode begins recording automation when you touch a control and stops
recording when you release the control. Additionally, once you release the control
and automation stops recording, the physical control glides back to the starting
value or position where it was at the start of the automation recording. For
example, if you are recording fader automation with a starting position of -12 dB in
Snap mode, you can record new fader automation as long as you are holding the
fader. Once you release the fader, the automation recording stops and the fader
glides back to the -12 dB position. The default glide time is 250 ms (milliseconds)
and can be changed in the Fairlight User Preferences tab.
The On Stop controls determine what happens when you release the control that you
are recording:
— Event maintains the most recently recorded automation value and overwrites
other previous levels for that parameter until the playhead reaches the start of the
next recorded data on the track.
— Hold maintains the most recently recorded value and deletes all previously
recorded data for the rest of the track.
— Return creates a ramp from the automation value you just recorded to the
previous values on that track.
The Enables buttons are self-explanatory and let you enable or disable different
controls for recording automation.
The Preview switch toggles Preview mode on or off. Preview is an additional mix
automation workflow that frees the faders (and other controls) from automation
control and lets you move them while you experiment with different levels and settings
until you are ready to write or trim new automation data.
Let’s record automation to the Fader Level curve for the A6 MEDLAB 1 track so the
medlab effects are more prominent at the beginning of the scene and then gradually
diminish when the medlab is no longer visible onscreen. The medlab sound effects are
a reminder for the audience that the other Philip is nearby, so keep the medlab audible
but not overpowering. Rather than using specific numbers and levels to set here, trust
your ears and your own judgement to decide when to dip the medlab effects and
when they should be more prominent in the mix.
TIP Before recording automation, it’s always a good idea to set the initial track
levels and practice changing levels on-the-fly.
3 Press A for Pointer mode. In the timeline, select the A6 MEDLAB 1 track to select both
linked MEDLAB tracks.
With the larger track height, you can more clearly see the Automation Arm button and
Automation dropdown menu in the track header.
At the moment, the track is still in clip editing view. To set track levels and record track
automation, you’ll need to change the track to track automation view.
5 In the A6 track header, choose Fader Level from the Automation dropdown menu.
Let’s set the initial level for the medlab effects. First, you’ll need to switch the track to
the track automation curve view.
Notice the current fader position so that you can return the fader to that position after
your practice run.
7 Make sure that the touch automation controls are off. (The Touch mode Off button
will be red.)
8 Start playback from the beginning of the scene, and in the channel strip, adjust the A6
fader throughout the scene. Experiment with different levels until you find values that
work best for the highest and lowest levels.
9 Move the playhead to the beginning of the track and set the A6 fader to the starting
level (around -10).
10 In the Touch controls, click the Latch button. In the Enables section, click the Fader
button. Also, ensure that automation is in Write mode and On Stop is set to Hold.
The fader turns red to indicate that it is enabled for automation recording. You’ll
see that the Automation Arm button on the track header and the Fader Level curve
also turn red.
12 In the A6 track, in the automation curve pop-up menu, choose Fader Level so you can
see the automation curve as you record automation.
Notice that when you stop recording, the fader turns green to indicate that the control
is automated. Also, you’ll see the green fader level automation curve on the A6 track.
TIP When you’re working with automation, it’s a good idea to turn off
the Touch mode when you aren’t actively recording. Otherwise, you could
accidentally record or overwrite automation during playback. Also, you can click
the Toggle Automation button to the right of the transport controls to disable
or enable all automation applied to a timeline.
15 Play the beginning of the scene and watch the A6 fader as it moves automatically
to follow the recorded automation.
Once you have recorded automation, you can write new automation over the original
or edit the automation curve using standard tools like the Focus mode multi-tool.
18 Clear the range. Press A or click the Focus Mode button to return to the default
arrow tool.
Now that you have seen how easy it is to automate fader levels on a track, let’s automate
some other parameters.
Just like before, you’ll be able to see the associated automation curve for Pan in the
timeline track.
NOTE If you did not complete all the previous steps, feel free to open the timeline
12 More Automation Start.
2 In the mixer, double-click the A6 Pan control to open the Pan window.
Automation can be recorded with or without the playhead moving. In this case, let’s
record the panning during playback. First, let’s watch the beginning of the scene.
3 Play the scene from the beginning and pay close attention to Medlab-Philip’s position
when he is onscreen, and the direction of the other character’s eyelines when they are
looking his direction when he is not onscreen.
4 In the Automation Toolbar Enables section, disable the Fader button and enable the Pan
button. Then, enable Event in the On Stop controls and Snap for the Touch controls.
5 Move the playhead to the red timeline marker. This is where you want the panning
to be in the center position and remain there for the rest of the scene. To record this
automaton keyframe, or Event, you can use the pointer and set a keyframe.
6 Make sure the panner is set to the center position. Then, Option/Alt-click the L/R Pan
automation curve on the A6 track at the playhead position to set a keyframe.
If you look at the Pan controls and the position of the panner you’ll see that the center
position involves both the Left/Right and Front/Back. Therefore, you’ll also need to set
an automation event value for the Front/Back as well.
7 In the A6 MEDLAB 1 track header, change the Automation dropdown menu from L/R
Pan to F/B Pan.
8 Add a keyframe on the F/B Pan automation curve on the A6 track at the playhead
position. Change the Automation dropdown menu back to L/R Pan.
NOTE The Pencil tool is great for setting a specific automation value or even
drawing a new curve. If you need to record more than one parameter at a time,
you can also use the controls in the corresponding Pan window.
All the controls on the panner turn red to indicate that any changes will be recorded as
automation data. You’ll also notice that the L/R pan curve is orange. When automation
is set to Event on stop, the new automation data will only be recorded from the
playhead position to the next event (keyframe). Also, this time, when you release the
control it will snap (glide) back to the existing value on the curve, which in this case is
the center position.
10 Move the panner to the front right position about one gridline from the right corner
(approximately 75R, 100F).
The red part of the graph shows the new recorded panning position and where it will
end up when it gets to the next event. While recording automation, you’ll see a red
graph representing the new curve as it is recorded and a green graph representing
the existing curve.
12 If necessary, press A to return to the default Selection tool. Then play the beginning of
the scene to see and hear your Pan automation. When finished, close the Pan window.
NOTE If don’t like your automation and would like to try again, simply choose
Edit > Undo and then repeat the previous steps to record again. To clear all
automation on a curve, use the multi-tool to set a range around the keyframes,
and then press Delete.
1 In the mixer, A6 channel strip, click the Add Effect (+) button and choose Delay >
FairlightFX > Echo to add the Echo plug-in to the track.
2 In the Echo - MEDLAB 1 window, change the Default preset to Large Hall.
Before automating the Dry/Wet control on the plug-in window, let’s hear how it sounds
dry and at around 30% wet.
4 In the Echo window, Output controls, drag the Dry/Wet control all the way to the left (0)
for a dry signal, without any Echo effect applied.
5 Start playback and change the Dry/Wet control from Dry (0%) when the camera is in
the medlab near Medlab-Philip to around 20–30% when the camera is near Philip and
Emiliana across the room away from the beeping medlab machines. Anytime Medlab-
Philip is in the foreground onscreen, the Echo effect should be dry. Once the scene
settles at the table with Emiliana and Philip (red marker), you are finished.
Practice a few times. When you’re ready to record automation, move on to the
next step.
8 Move the playhead to the beginning of the timeline. If Necessary, turn on the
Automation Arm button in the upper-right corner of the Plugin window. Then, turn on
the Automation Arm button on the A6 MEDLAB 1 track.
All the controls in the Echo window turn red to show that they are armed for recording
automation data.
10 Start playback and record the changes to the Dry/Wet parameter. When you finish
(before the red marker), release the knob and press the Spacebar.
11 Close the Echo window and set the Touch mode to Off. Then deselect the Pan and
Plugin enable buttons.
12 Press Command-F (macOS) or Ctrl-F (Windows) for full-screen Cinema Viewer mode.
Play the beginning of the scene to hear your Volume, Pan, and Plugin automation in
context. When you are finished, press Escape (Esc) to exit Cinema Viewer mode. If you
didn’t complete all the automation steps, and you’d like to hear the finished track, open
the timeline 12 More Automation Finished.
Excellent work! This is just scratching the surface of what you can do with automation to
bring a soundtrack to life. Hopefully, you will now feel confident enough to try it on your own.
As you know, your ears are a vital part of your complex auditory system. They are always
working and sending information to your brain to process. Our brains, in turn, attempt to
tune out unnecessary background noises while consciously processing priority sounds
such as human speech. When you focus attention on a specific sound, you are consciously
overriding your brain’s subconscious sound dampening and sifting processes.
Now imagine sitting in a theater, watching loud action movies and focusing on every
element of the soundtrack for 8 to 10 hours a day, 5 days a week. Such is the life of a
Hollywood re-recording mixer. Audio pros learn to recognize ear fatigue and know when
they need to step away for a bit. In the early days of sound mixing, the necessity to change
film reels created built-in breaks throughout the day. However, with the advent of digital
audio and high-end mixing stages, prolonged and sustained exposure to loud audio is a
daily occurrence. Whether you are a seasoned pro or a headphone-wearing student in a
classroom, when you notice your mind drifting away from your work, feel uncomfortable
pressure in your ears, or are suddenly tired—take a break! If you are an audio post
supervisor, film producer, or medical professional who doesn’t believe in the ear fatigue
phenomenon, feel free to spend a day in a theater watching 8 hours of action films non-
stop or sit near the mixing console during an 8-hour rock concert.
In this exercise, you’ll open a different version of this mix with fader automation already
applied to some of the busses.
3 Show the Tracks Index to see all the timeline tracks in order from top to bottom. In this
case, all tracks are visible in the Tracklist.
4 In the timeline, if necessary, click the Automation Controls button to show the
Automation toolbar.
With the Automation toolbar showing, you’ll also see all the busses marked visible in
the Tracklist as tracks in the timeline.
5 In the timeline, scroll down to see the three bus tracks at the bottom of the timeline
starting with the M1 Main 1.
Notice that the B5 MUSIC and B6 BG FX submix bus tracks show automation curves for the
EQ Band3 Gain. This type of EQ automation is called EQ carving and is common for dipping
or carving the midrange EQ frequencies in music and background tracks that compete
with important dialogue frequencies.
In this exercise, you’ll copy the EQ automation curve from the B5 bus track and paste
it on the B6 bus track. To copy and paste automation, you first need to set a range in
the timeline.
1 With the Focus mode multi-tool, drag a range from the first frame to the last. In the
Automation toolbar, enable EQ.
4 Choose Fairlight > Automation > Paste or use the shortcut Command-V (macOS) or
Ctrl-V (Windows).
The B6 BG FX bus track now has the same EQ Band3 Gain automation curve as the B5
MUSIC bus track.
1 Press A for Pointer mode. Hide the Index. Clear the play range, if necessary. In the
Timeline View Options menu, click the Video tracks icon.
2 In the timeline toolbar, locate the Automation Follows Edit button. It should already be
on by default. You can also go to the Fairlight > Automation menu to see if the Follows
Edit option is checked.
4 Increase the vertical zoom in the timeline until you can see all the visible tracks
and busses.
6 Press Command-X (macOS) or Ctrl-X (Windows) to cut the selected clips and their
automation data.
All that’s left to do is move the playhead 10 seconds forward and paste.
8 Press Enter or Return to execute the timecode playhead move. Press Command-V
(macOS) or Ctrl-V (Windows) to paste the selected clips based on the new
playhead position.
The playhead and copied clips move 10 seconds forward in the timeline. Notice that
the visible automation curve on the Medlab 1 track moved along with the clips.
9 Play the timeline from the beginning of the clips and listen to the Medlab 1 track Pan
and Echo automation to see if it is still in sync with the clips.
1 Move the playhead to the first frame of the timeline. Then, if necessary, show the
Automation controls in the timeline and enable visibility for the MI Main 1 bus track in
the Tracklist.
3 Switch on the Loudness History controls to see the Loudness history graph in the
timeline. Then check the Integrated, Momentary, and Short Term options to see all
three loudness metering graphs.
To see the Loudness history in the graph, you must start the Loudness meters.
4 In the monitoring panel, click the Loudness meters Options menu and choose a
loudness metering standard for your region. If unsure, choose BS.1770-4, which is the
most current loudness metering used worldwide that employs algorithms to measure
audio program loudness and true-peak audio levels.
6 Start playback. The loudness metering colors and values are drawn in the graph
as you play.
These three Loudness curves follow the same color indicators as the loudness
meters. If the program level exceeds the -23 LKFS loudness standard, that part of the
graph shows in red along with the meters. If the loudness levels are within tolerance
(+/- 2 dBFS), the graph and the meters will display yellow.
7 When you’re finished looking at the Loudness History graph, hide the Tracks Index,
Video Tracks in the timeline options menu and Automation controls in the timeline.
Now that you know how to show and use timeline bus tracks and the Loudness History
graph in DaVinci Resolve, you can employ these powerful mixing and finishing tools in your
own projects.
1 Open the 12 Dialogue Mix timeline. Then open the Bus Format window. Make sure that
the Automation is toggled on as well.
As you can see, this timeline includes all the dialogue editing, sweetening, and
mixing that you’ve done so far. It also includes a single mono output bus named
DX (dialogue mix).
3 Close the Bus Format window. In the Timeline View Options menu, hide the video
tracks, if necessary.
5 In the media pool, right-click the 12 Dialogue Mix timeline and choose > Insert
Selected Clips to Timeline Using Timecode.
6 Hide the media pool. Play the timeline to hear the incorporated (nested) dialog mix
with the master mix.
It sounds great. The dialogue sounds exactly like the dialogue mix timeline because it
is the dialogue mix timeline! Now let’s decompose it and add the DX bus to the busses
in the master timeline.
8 In the Decompose Preserving Audio Data dialog, set the Routing to New Matching
Busses. Click Decompose.
The entire dialogue mix timeline is added to timeline, including effects, processing,
automation, and bussing. In this case, there was a single bus named DX. When you
decompose a timeline using the New Matching Busses option, matching busses
from the nested timeline are added and appended with the track name the nest
was opened in. This is really handy for keeping track of busses coming in from other
mixes. The only duplicate track is the PFX on A5 and A6. So, you’ll need to mute one of
those tracks.
11 Increase the height of the A3 ADA VO wFX track. Show the Fader Level curve in
the track.
Although this is a very simple nested timeline example, it should give you a glimpse of
the possibilities for collaborative audio workflows and moving mixes from one timeline
to another.
Congratulations! You have finished the scene, and it’s ready for delivery. It might not be
perfect, but it has come a long way since the beginning of this lesson. And you are now
armed with a new set of Fairlight mixing techniques—including EQ, dynamics control,
auxiliary busses, automation, and submixes—that you can apply to your own projects.
a) Automation
b) Animation
c) Auxiliary
d) Agnostic
2 True or false? You can apply automation to the Loudness History curves in the
Loudness History graph.
3 To see bus tracks in the timeline, what other controls must be showing?
a) Mixer
b) Automation Controls
c) Effects Library
4 What does the Automation Follows Edit button in the timeline toolbar do?
a) Allows you to edit automation curves with the Pencil tool
c) Records automation data to the clips and the tracks so that the automation follows
clip movements or editing
d) Records automation data to a sidecar file so it follows the project to another system
5 If you decompose a nested timeline inside a master timeline, what is included from the
original timeline? (Choose all that apply.)
a) Clip and track colors from the original timeline
2 False
3 b
4 c
5 f
Finishing and
Delivering Tracks
This is the timeline that you have been working on throughout the mixing lessons, with
all the level adjustments, sweetening, busses, and automation applied.
Four new mono tracks appear at the top of the timeline in the A1–A4 positions.
4 Right-click the A2 track header and choose Change Track Type To > Stereo.
5 Select the A3 and A4 tracks. Right-click the selected track headers and choose
Change Track Type To > 5.1 > 5.1.
6 Select the name field in the A1 track and type DX Mono. Press Tab to select the Name
field in the next track. Name the four new tracks as follows:
— A1 DX Mono
— A2 DX Stereo
— A3 DX 5.1
— A4 DX 5.1 Rec
DX, FX, and MX are common abbreviations for stem tracks. As you might have guessed,
they stand for Dialogue Mix, Effects Mix, and Music Mix.
You will bounce the dialogue mix to the A1–A3 tracks and re-record the dialogue
submix to the A4 track. The bouncing does not require any patching or arming of
tracks. To re-record the mono dialogue submix to the 5.1 track, you’ll patch all six
channels of the 5.1 main out to the six channels of the DX 5.1 track input. Let’s patch
the A4 track so it will be ready to arm and record in the next section.
Finally, it’s a good idea to create a new bin for your rendered files.
10 Show the media pool and select the Lesson 13 bin. Right-click anywhere In the
Lesson 13 bin and choose New Bin.
11 Name the bin My Hyperlight Mixes and Stems. If necessary, choose Show All Clips
from the media pool options menu (...) to see the new bin in the media pool library.
Bouncing Mixes in
the Fairlight Page
In this exercise, you’ll bounce the signal from all the yellow dialogue tracks to a single track
to create a dialogue stem. This can be accomplished by either soloing the dialogue tracks
and bouncing the mix or simply bouncing the DIAL submix bus to the A1 Mono track.
2 In the Lesson 13 bin, select the newly created My Hyperlight Mixes and Stems bin.
3 In the transport controls toolbar, click the Toggle Automation button to turn on
automation, if necessary.
Turning on automation isn’t necessary for bouncing stems. However, if you applied
automation to your tracks, you’ll need to have automation turned on to hear those
changes. You’re ready to check levels, and to do that, you’ll need to employ the
Loudness meters.
To even the acoustic playing field, new loudness standards were introduced that apply to
all broadcast programs (television and radio), regardless of the length or type of program.
In North America and parts of Asia, an integrated target of -24 LUFS (Loudness Units
Full Scale) is the norm for broadcast content, whereas in Europe the target is -23 LUFS.
(Theatrical films, trailers, and streaming videos have different standards.)
DaVinci Resolve 18 includes three types of monitoring panel meters to measure such
standards. Peak meters are traditional Root Mean Square (RMS) meters available for every
track and bus that uses a decibel scale, True Peak (TP) meters in the Control Room that
measure the sum of all audio channels routed to the currently selected bus, and Loudness
meters measure the loudness in your program based on the loudness unit scale (LUFS).
Presets available in the Loudness options menu (...) allow you to choose the most current
loudness metering, ITU BS.1770-1 and ITU BS.1770-4, as well as international Loudness
standards for the meters.
In this exercise, you’ll monitor the integrated loudness display and true peak meters to
ensure that your project audio comes within +/- 0.5 of the target -23 LUFS. The integrated
number is measured over the entire start-to-stop range as you play it.
1 At the top of the Loudness meters, click the Options menu (…) and choose the
BS.1770-4 standard. Also, make sure the Absolute Scale option is checked.
4 Under the Loudness meters, click the Start button to enable the analysis.
5 Press the Spacebar to play the timeline. Watch the Integrated loudness display during
playback to see how close to -23 LUFS this stereo mix measures on the loudness scale.
6 When the scene finishes playing, look at the Integrated value on your Loudness meter.
The current Integrated value is around -25.5, which is close to but does not exceed the
-23 LUFS limit. However, the True Peak value in the Control Room is red TP -1.7, which
means the highest peak exceeds the target value of -2 dBTP. Chances are that peak
was caused by the explosion sound effect. Let’s lower the level of the SFX bus by -1 dB
and see if that solves the issue.
10 Play the scene again from the beginning and watch the Control Room meters when
Philip mentions the explosion.
This time, the TP meters should be below the -2 dBTP target. Shift-drag the fader,
if necessary, for fine incremental adjustments.
NOTE The Control Room and Loudness meter displays change color from blue to
red if levels exceed the target. Levels that are near the target but within the +/- 0.5
tolerance display in yellow. These colors also appear in the Loudness Graph in the
timeline.
You have verified the levels and can proceed with bouncing and delivery.
1 Set a play range from the first frame to the end of the last frame of audio.
You could solo the dialogue tracks and bounce the main output to the A1 DX Mono
track, or you could simply bounce the DIAL submix to the DX Mono track. For this
exercise, let’s use the latter method.
The Bounce Mix to Track window includes options to bounce from any bus.
4 Set the Destination Track for the Bus 4 DIAL bus to the DX Mono track.
Done! With a little knowledge of busses and mixing, you were able to bounce four
tracks into one. Let’s play it back to audition the results.
TIP Changing the color of clips and tracks is very useful for organizing,
marking, and maintaining your audio post-production workflow. However,
when you get down to the final mixed elements, it’s traditional for some mixers
to leave them native-audio green to indicate that they are the final version.
Don’t worry if the levels aren’t perfect at this time. The important thing is that throughout
this book you transformed the rough dialogue from the edit through the entire audio post-
production process, resulting in a final mix. If you have any issues with your levels or the
bounced mix, you can always make changes and bounce again later because the process is
easy when you understand how it all works. You’re now ready to bounce dialogue stems in
stereo and 5.1 formats.
1 If necessary, mark the timeline from the first to the last frame.
4 In the Bounce Mix to Track dialogue, set the Destination Track for the Main 1 bus
(Stereo) to the DX Stereo track. Set 5.1 Main to the DX 5.1 track. Click OK.
The bounced stereo and 5.1 dialogue stems appear in the destination tracks. You now
have three dialogue stems in three different formats: mono, stereo, and 5.1 surround.
Each of the bounced clips is named after the bus that was patched to the track.
1 Show the media pool. Select the My Hyperlight Mixes and Stems bin to see the
contents in the media pool library.
2 Select each of the rendered files one at a time to see how many channels show in the
Preview Player. Move the playhead in the Preview Player to the middle of the clip for a
better view of the bounced waveform.
— DX 5.1
— DX Mono
— DX Stereo
Now that you’ve given the bounced clips new names, you can show them in the timeline.
4 Choose Fairlight > View Clip Info Display. Set the Name option to Clip Name. Click OK.
The new clip names appear in on the bounced files in the timeline as well.
5 In the timeline, expand the height of the DX 5.1 track for a better view of the channels.
Although the clip has six separate channels, the dialogue stem only has sound in the center
channel. Why? Because dialogue should be panned to the center channel for surround
mixes. Similarly, if you bounced the M&E bus to a 5.1 track, there would be sound in all the
channels except the center, because M&E mixes exclude dialogue.
4 In the transport controls, click the Record button to start recording. When the scene is
finished, stop playback.
6 If you compare the A3 and A4 tracks, the waveforms in the center channel should
look identical.
In the media pool, change the Clip Name for the recorded clip to match its track name.
Update the Clip Names for each of the stems in the media pool to include “Hyperlight”
before the track name and the channel type and stem in caps. For example, the mono
stem should be renamed Hyperlight DX Mono Stem or channel description and stem
in all caps if you prefer, like this: Hyperlight DX MONO STEM. Naming conventions vary
between companies and delivery requirements.
Once you’ve finished changing the names of the stems, give them a test drive in the
timeline with the other tracks. Be sure to mute the original dialogue tracks and only listen
to one stem at a time for comparison.
To bounce the stem clips as new multichannel files, you’ll use the Bounce Clip to Files
option available in the contextual right-click menu. Bounce each of the dialogue stems
from the A1, A2, and A3 tracks as a multichannel clip. Be sure to use the Clip Name. To keep
things organized, create a new folder called Hyperlight Dialogue Stems on your desktop
as a location for your bounced stems.
Congratulations! Not only did you edit the dialogue tracks, but you also sweetened, mixed,
and bounced the stems.
1 Unsolo all timeline tracks and mute the A1-A4 DX tracks. Click the Deliver button to
open the deliver page.
The toolbar buttons switch The viewer shows The Render Queue
between file rendering images from the contains all the jobs
and tape output. selected timeline. waiting to render.
When rendering a mix, you will always want to output a single file for your project.
You can choose whatever format you need on your projects, but for this one, you’ll
export in a standard Wave format.
The current Bit Depth is 16, which is fine for this lesson. You can change it to 24- or 32-
bit audio files at any time depending on your delivery requirements.
Below the Bit Depth is a very important checkbox because it determines whether your
mix will be rendered as a two-channel stereo file or as two single-channel mono files
for the left (L) and right ( R ) channels.
6 Click the Output Track pop-up menu to see the multiple available options.
Here you can select any of the busses, a timeline track, or all timeline tracks. With the
All Timeline Tracks option, the channel mapping of the rendered clip will match the
entire timeline all in one clip.
Next, you’ll need to add a custom name and browser location for your file.
8 Click the File tab and add a custom name as you would for any other output. In this
case, let’s name the file HL_Scene4 _2ch _mix.
9 Click the Browse button to change the location of your mixed file to the Desktop folder.
Create a new folder on the desktop called My Mixed Stems. Click Save.
12 When your file is finished rendering, head to your Desktop to locate and audition your
finished stereo mix.
As you can see, the file was rendered to the Desktop folder.
In this exercise, you’ll open the finished scene with all its finalized sound elements, check
the loudness, and pan the mono tracks to prepare them for delivery.
2 Open the timeline, 14 Finishing Start. You can use the zoom sliders to fit all the clips
horizontally and vertically in the timeline.
This timeline includes the finished mixed stems from the audio post team at Cult
Nation Studios for the Hyperlight soundtrack. The tracks are as follows:
— A1 - Stereo Mix
— A2 - VX Stem (stereo dialogue stem)
— A3 - SFX Stem (stereo sound effects stem)
— A4 - MX Stem (stereo music stem)
— A5 - Audio 5 (channel 1 of a 6ch 5.1 surround sound mix)
— A6 - Audio 6 (channel 2 for a 6ch 5.1 surround sound mix)
Each of these track groups fulfills a different delivery requirement. They are all in the
same timeline at the same time, but they aren’t meant to be played all at once. Let’s
start at the top with the A1 - Stereo Mix track.
NOTE Many post-production mixers use VX, SFX, and MX as shortcuts for the
voice (dialogue), sound effects, and music stems.
3 Solo the A1 - Stereo Mix track. Resize the viewer in the monitoring panel so you can
clearly see the video playback while listening to the audio.
5 Start playback, and watch the scene with the final mix. When you are finished,
stop playback.
The levels are good, and the integrated loudness is within +/- 0.5 of the target -23
LUFS. You probably noticed that many sound design and mixing techniques were used
to achieve this final mixed soundtrack. And, of course, ADA’s voice turned out great
when performed by a professional actress.
Let’s zoom in on the tracks to see their current channel configurations and then look at the
pan controls to move them to the correct output channels.
1 Unsolo the A1 track. Solo tracks A5–A10. Zoom in on the timeline tracks so you can
clearly see the headers for those tracks.
In the upper-right corner of each track header, you can see that the current channel
mapping is 1.0 to indicate one mono channel. Also, the mixer shows that each of these
mono tracks is currently panned to the Center channel. As you know, in surround
sound mixing, the center channel is reserved for dialogue and LFE only.
You could manually pan each mono track to the proper channel in the mixer, or you
could use the handy Link Group window to link all six tracks to a single fader. Let’s
try plan B.
If you recall, the Link Group window highlights all mono tracks in the timeline—in this
case, all six of the 5.1 mono stems.
3 In the Link Group window, select the Audio 5 track, and then select the Audio 10 track
to select all six tracks.
At the bottom of the window, you’ll see options to Link as 5.1 Film or 5.1. The difference
between these options is that 5.1 Film configures to SMPTE standards, whereas 5.1
configures to a standard six-channel output.
Two things just happened to the track panning. First, all the track headers now indicate
the channel panning for each track. Second, all six tracks appear under one fader in
the mixer with perfect 5.1 panning.
You can now head to the deliver page to render out the final program with any
combination of these audio tracks, stems, or mixes. But wait, there’s one more
thing that’s totally awesome about finishing in Resolve’s Fairlight page. What if
the deliverables require separate panned mono tracks instead of a linked group
represented by a single 5.1 track? No problem.
5 Choose Fairlight > Link Group to open the Link Group window.
6 In the Link Group window, select the linked group and click Unlink.
The tracks are separated into single-channel mono tracks, but with a twist. In the
mixer, take a look at the track panning.
The tracks are now panned, and the LFE channel is good to go.
NOTE With DaVinci Resolve 18, you can convert any multichannel track into
a Linked Group of mono tracks. Just right-click the track header and choose Convert
to Linked Group from the contextual menu. Once converted, you can adjust levels
for each track independently, while maintaining single fader control of the group.
You can even unlink the group in the Link Group window to turn the tracks into
independent mono tracks with separate faders.
10 At the top of the Render Settings, select the Audio Only option.
Lesson Review
1 What factor determines the channel configuration of a bounced mix?
a) Selected tracks
2 Identify one or more channels that are used for low-frequency effects (LFE) in a
standard six-channel, 5.1 surround sound mix.
a) Channels 1 and 2
b) Channel 3
c) Channel 4
d) Channel 5 or 6
3 True or false? In the Deliver page render settings, you should always render your mix
as a single clip.
4 True or false? Linking six mono tracks as a 5.1 group will automatically pan them to the
correct channels with a single fader control. Subsequent un-linking of that same group
of tracks will retain each mono track’s 5.1 channel panning.
2 c
3 True
4 True
Exploring Dolby
Atmos Integration
NOTE If you need to download the media for this lesson, go back to the “Getting
Started” section at the beginning of this book and use the R17 Fairlight Part 4 link
to download the Lesson 14 media. You can also download the Part 4 link via the
Training page available in the DaVinci Resolve Help menu.
1 Locate the R18 Fairlight Book Media folder on your desktop or Finder.
As you can see, the Lesson 14 Dolby Atmos media includes two files: a
NaturesFury.mp4 movie file and a NaturesFury.wav audio file.
3 Play the NaturesFury.mp4 movie to preview the video and embedded stereo mix.
When you’re finished, close the Finder window and media player that you used to
play the clip.
Now that you have previewed the movie that you’ll work with, let’s start a new project
where you’ll sync the video and audio clips.
6 In the New Project dialog, type Natures Fury in the name field, and then click Create.
2 In the media pool options menu (…), select the Show All Clips option.
3 Press Command-I (macOS) or Ctrl-I (Windows) to open the Import Media dialog.
4 In the Import Media dialog, navigate to the R18 Fairlight Book Media > R18
Fairlight Part 4 > Lesson 14 Dolby Atmos folder. Select both of the media files:
NaturesFury.mp4 and NaturesFury.wav. Click Open.
The media files appear in the media pool library. In DaVinci Resolve, you can instantly
create the first timeline in a new project by simply dragging a clip from the media pool
to the empty space in the timeline area. Let’s try it.
NOTE You can check the file format of a selected clip in the media pool
or timeline via the File tab of the Inspector. A Dolby Atmos master fille, like
NaturesFury.wav, will be identified as such in the Audio Codec and Audio
Format fields.
Since you made the timeline with a video clip, you’ll see both the video and audio
tracks in the timeline.
6 Click the red Toggle Automation button to turn off automation. Press Shift-Z to fit the
clip horizontally to the timeline window.
7 Zoom vertically until you can clearly see the waveform in the A1 track. Play the
beginning of the clip.
Notice that the Bus1 Flex Bus output bus, Control Room, and Loudness meters are all
stereo to match the channel mapping of the clip that you used to create the timeline.
8 Drag the NaturesFury.wav audio clip from the media pool to the empty timeline space
below the A1 track. Align the clip in the A2 track with the beginning of the timeline.
Notice that the Bus1 output bus, Control Room, and Loudness meters are now
12 channels wide to accommodate the default 7.1.4 Dolby Atmos format.
In this example, to sync the video and stereo clips in the V1 and A1 tracks to the Dolby
Atmos clip in the A2 track, you simply drag them into position.
10 In the timeline, select the video clip in V1 and the audio clip in A1. Drag the selected
clips to the right until they align with the end of the clip in the A2 track.
11 Solo the A2 track, if necessary, and play part of the timeline. Watch the viewer to see
that the video and audio are in sync. Continue playback and un-solo A2. The audio
tracks should be in sync with one another. Continue playback. Experiment with soloing
or muting the tracks to hear one, then the other, and then both. When you’re satisfied
that they are in sync, stop playback.
13 Drag downward on the A2 track header to vertically zoom the track until you clearly
see the waveform and name of each channel in the A2 track.
The Dolby badge at the head of each channel in the NaturesFury.wav audio clip
indicates that it is a Dolby Atmos master file that is playing through the internal Dolby
Atmos Renderer in DaVinci Resolve.
NOTE When you add a Dolby Atmos master file to the timeline in DaVinci Resolve,
you cannot add fades or edit the individual channels. This is to maintain the
integrity of the Dolby Atmos master. You can, however, sync, trim, or move the
master file as needed within the timeline for packaging and delivery.
An advantage of working with a Dolby Atmos master file rather than a standard channel-
based file is that the Dolby Atmos master files can be played in any standard format
through the internal Dolby Atmos Renderer. Changing the channel format of a Dolby
Atmos master file only changes the way it will play back through the internal Dolby Atmos
Renderer built in to DaVinci Resolve. All the channels and embedded metadata are
retained for packaging and delivery.
In this exercise, you’ll change the format of the A2 clip from Dolby Atmos 7.1.4 to stereo
using the Clip Attributes dialogue.
1 Right-click the clip in the A2 track and choose > Clip Attributes.
The A2 track now contains a two-channel stereo clip in a 12-channel 7.1.4 track.
4 Right-click the A2 track header and choose Change Track Type To > Stereo.
5 Adjust the vertical zoom to reduce the height of the A2 track to match the A1 track
height. Notice that the stereo clip in the A2 track still has a Dolby badge indicating that
it is a Dolby Atmos master file.
You can generate your own channel-based files right from the Dolby Atmos master
file, so there is no need to keep the A1 stereo track showing in the timeline. In fact, you
don’t need to see the video track either.
6 In the Tracks Index Tracklist, hide the visibility (eye icon) for the V1 Video 1 track as well
as the A1 Audio 1 track.
The Video 1 and Audio 1 tracks (V1 and A1) are no longer visible in the timeline. Keep in
mind that hiding an audio or video track does not disable or mute them.
7 In the Tracks Index, Mute the A1 Audio 1 track, and then hide the Index.
In the next exercise, you’ll use the internal Dolby Atmos Renderer to generate a stereo
downmix in the A2 track.
1 Press R for the Range selection tool. Click the master file in the A2 track to select the
track and set a range for the entire clip.
The internal Dolby Atmos Renderer exports a bounced stereo file based on the Dolby
Atmos master file. The bounced file appears in the A2 track, on the top layer, above the
original master file.
With Audio Track Layers showing, you can see the master file in the bottom layer and
the bounced file in the top layer for each channel.
This is a good time to give the bounced file a suitable clip name.
7 Right-click the clip in the A3 track and choose > Find in Media Pool.
8 In the media pool, change the name of the selected clip to NF stereo downmix.
10 In the Clip Info Display dialog, select the Clip Name option. Click OK.
The clip name appears on the clip in the A3 track. This is also a good time to name
the tracks.
One more thing before you start: grab some headphones and put them on so you can
experience the immersive sound along the way!
1 Right-click the Dolby Atmos master clip in the A2 track and choose Clip Attributes.
3 Click OK.
At a glance, you can see that the 2-channel clip on the A2 Dolby Atmos track has a
much fuller waveform than the stereo version of the same file in the A3 track. You
might assume that means the binaural clip in the A2 track is much louder than the
stereo clip in A3. There is only one way to find out. Play them and compare.
Chances are that you could really hear the difference between the stereo and binaural
versions. Now it’s time to bounce the binaural file to a new layer, and then move it to a
new track.
6 Select the A2 Dolby Atmos track. Choose Timeline > Bounce Selected Tracks to
New Layer.
7 Drag the bounced clip from the A2 track down to the empty space beneath the
A3 track to create a new stereo track for the bounced file.
8 Double-click the clip in the A4 track to open the Clip Attributes window. Change the
Clip Name to NF binaural downmix.
To fully appreciate the binaural clip that you just rendered from a Dolby Atmos master
file, let’s take a few minutes to listen to the A4 track while watching the Nature’s Fury
video full-screen.
10 Solo the A4 track. Move the playhead to the beginning of the timeline, if necessary.
11 Choose Workspace > Viewer Mode > Cinema Viewer or press Command-F (macOS),
Ctrl-F (Windows). Enjoy the show. When you’re finished, stop playback and press Esc
(Escape) to exit full-screen mode and return to the previous layout.
NOTE You don’t need to turn up the volume to enjoy the binaural sound. Please
listen at a comfortable level, which should be well below 50 percent of the
computer’s output level.
1 In the timeline, right-click the NaturesFury Stereo Downmix clip in the A3 track and
choose > Analyze Audio Levels to open that dialog.
When using the ITU-R BS.1770-1 and ITU-R BS.1770-4 loudness presets, you will
always see accurate True Peak and Loudness measurements in blue. The other
loudness standards presets use red or yellow to show that the levels are too loud or
within tolerance, respectively. In this case, a True Peak level of 0.0 dBFS and Loudness
measurement of -16.8 LUFS is too loud for any broadcast delivery standards. Luckily,
you can normalize the clip to whichever loudness requirements you need.
3 Right-click the NF stereo downmix clip in the A3 track and choose Normalize
Audio Levels.
Your goal is for a maximum Target Level of -2.0 dBTP and Target Loudness of -23 LKFS.
Setting the Normalization dialog to the ITU-R BS.1770-4 mode will reduce the clips
relative loudness as much as necessary until it is below or within tolerance of both
loudness targets.
4 In the Normalize Audio Level dialog, set the Normalization Mode to ITU-R BS.1770-4.
Click Normalize. Once the normalization is complete, Analyze the audio levels for ITU-R
BS.1770-4 again.
Mission accomplished! The levels of the stereo downmix meet the loudness standard
and are ready for delivery.
One more thing! Since both of the downmixed files are ready for delivery, go ahead
and use the Export Audio Files feature (from the right-click menu) to export all of the
downmixes to a new folder named NF Mixes.
One thing to remember about the Dolby Atmos integration in DaVinci Resolve 18 is that a
Dolby Atmos master file always retains the Bed and Object information to scale up or down
to play in any standard Dolby Atmos or channel-based format.
In the next series of exercises, you’ll render two Dolby Atmos master files from the
NaturesFury project.
1 In the Tracks Index, show the A1 track. Right-click the A1 track header and choose >
Delete Track. In the Fairlight page timeline, mark an In point at 01:00:30:00 and an Out
point at 01:01:00:00.
2 In the deliver page Render Settings panel, adjust the following settings as follows:
Notice that when you change the Track Number to track 2, the FFOA timecode at
01:00:00:00 field becomes active and checked automatically. You can use the FFOA
to set the start of actual audio in the ADM master file. Preparing a project for ADM
delivery usually includes adding a 2-pop (1 frame 1kHz tone) 2 seconds before the first
frame of action for sync to picture.
Next, you’ll use the IMF Netflix preset to deliver an IMF IAB package containing both
the video and Dolby Atmos master file.
Since this is a preset, you won’t make any changes to the Video, Audio, or File settings.
The only thing you’ll need to check is the Output Track and Track Number to make sure
they are set to the correct timeline track on the Audio tab.
6 Click the Output Track 1 dropdown menu to see the different options, including
Timeline Track, All Timeline Tracks, and IAB Track File.
NOTE When creating an IMF package with a Dolby Atmos master file in the
deliver page, the All Timeline Tracks option can be used if you want to render
additional channel-based tracks such as the stereo and 5.1 downmixes along
with an IAB Dolby Atmos master file in the same package.
Any timeline track that does not contain a Dolby Atmos master file will render
a file based on the track’s channel configuration. The IAB Track File option
lets you browse to and select the original Dolby Atmos master file at the
Finder level and copy it directly into the IMF package rather than render a
new master file.
For example, if the export is the same frame rate and the clip is simply
trimmed, the source master file is fully copied into the IMF.
9 In the Render Queue, deselect both render jobs, if necessary. Click Render All.
10 At the Finder level of your system, locate the NF Dolby Atmos Deliverables folder and
view the contents.
Here you should find an IMF package NF Dolby Atmos 30sec (folder) containing
numerous XML files as well as the IAB Dolby Atmos .mxf master file and the Video .mxf file.
Additionally, there should be a Broadcast Wave File named NF Dolby Atmos 30sec.wav.
2 In the Finder window, navigate to the R18 Fairlight Book Media > R18 Fairlight Part 4 >
Lesson 14 Dolby Atoms > NaturesFury.wav file.
3 Click Open.
— A new timeline will be created. If you followed all the previous steps and exercises,
it will be Timeline 4.
— The timeline will be populated with all the content necessary to recreate the Dolby
Atmos mix.
— Automation is turned on so that all panning automation on the object tracks will be
active during playback and rendering.
— The new timeline contains all the bed (standard channel mix), object (mono
tracks with panning metadata), and VCA groups (faders to control groups of
tracks that have automation applied) with the playhead at the start of the newly
generated clips.
— The new timeline’s timecode and position of the content will be based on the
timecode of the original Dolby Atmos master file. In this case, the timeline starts
at 00:00:00:00, and the clips start at 00:59:58:00 with a 2-pop on the first frame of
audio, and the sound (FFOA) starts at 01:00:00:00.
This is the exact same master file that you were working with before, only this time you
have an all-access backstage pass to see the full behind-the-scenes mix including every
track, waveform, panner, and fader needed to output the Dolby Atmos master file.
3 Double-click the track meters in the monitoring panel to double-stack the meters so
that you can monitor all 109 tracks at once.
4 Increase the height of the A1 track header until you can see all the channels in
the timeline.
The contents of the A1 bed track are just what you would expect to see for a 7.1 mix,
with the added Left top surround (Lts) and Right top surround (Rts) channels.
5 Zoom vertically to reduce the height of all the tracks as much as possible.
You can read the first word in each object track’s header and quickly identify the
types of object tracks by the name: Dialog, Music, or Effects. For training purposes,
these names were added to the original master file to match the VCA groups in the
mixer. Otherwise, when importing a master file through the Fairlight Immersive tools,
unnamed object tracks would be named “Object” and a sequential number starting
with the first object track.
6 Select the first Dialog Object track, A2, and zoom vertically to increase the height of
the tracks until you can see the name of the track.
Next, let’s look at the VCA groups in the mixer. VCA groups let you adjust relative levels
of all tracks in a group even if they have automation applied.
These VCA faders can be used to adjust the levels of all the member tracks, even with
automation turned on.
8 In the mixer, drag the Dialog VCA fader up and down to see all the faders in the Dialog
group move simultaneously, relative to the movement of the VCA fader.
9 Double-click the Dialog VCA fader to reset the level of the VCA group and all member
tracks to unity.
10 In the mixer, drag the left edge of the Bus 2 channel strip toward the right to reveal
more track channel strips and hide the VCA channel strips.
2 In the Patch Input/Output window, set the Source to Bus Out and the Destination to
Dolby Atmos Send.
Here you see that the object track channels starting at Dialog Object 1 are patched to
the sends starting with Send 11.
1 Press Shift-4 to go to the edit page. Press Down Arrow to move the playhead to the
beginning of the clips in the timeline.
3 Hover your pointer over the source viewer until you see an overlay with a video clip
icon on the left and an audio waveform icon on the right.
This editing overlay allows you to edit video only or audio only from the source clip. In
this case, you want to edit video only.
4 Drag the video-only overlay to the empty Video track in the timeline.
Now that the video clip is in the timeline, you can sync the tail of the clip to the tail of
the audio clips. If snapping is turned on, the tail of the video clip should snap to the
end of the audio.
5 In the V1 track, drag the video clip into position so that the last frame aligns with the
last frame of the audio clips.
1 In the Fairlight Monitoring controls, click the dropdown menu arrow to the right of the
default monitoring format 7.1.4 to show the menu.
3 Choose 2.0 from the monitoring menu to change the playback format to stereo.
The Control Room and Loudness meters update to display two-channel stereo playback.
4 Choose Binaural from the monitoring menu to change the playback format. Play a
section of the clips to hear the binaural sound.
5 Start playback from the beginning of the clips. Toggle back and forth between 2.0 and
Binaural monitoring in the monitoring dropdown menu during playback.
The Control Room and Loudness meters update to display 10-channel Dolby Atmos
5.1.4 playback.
7 Set the monitoring menu back to the default 7.1.4 playback format. Feel free to set the
playback monitoring to fit your listening environment.
When a Dolby Atmos master is monitored in 5.1 or stereo, there are controls that
determine how the overhead content and rear surround content are derived: either
directly from the renderer or downmixed from an intermediate layout. These are referred
to as Downmix settings.
Downmix settings work in conjunction with trim controls when monitoring in 5.1.2, 5.1,
and stereo. The automatic setting provides algorithmic dynamic trims that are
appropriate for the vast majority of content. In some cases, more specific control of
rear surround and height content is needed along with adjustment of the front/back
balance to ensure dialog intelligibility and balance with the floor speakers. Manual
trim controls are provided for this purpose. Keep in mind that any changes to these
controls are applied to the entire master. Manual trim control should be considered
an advanced setting.
2 In the Trim Controls, click the Manual option to engage the Trims and Front/Back
Balance controls for manual adjustment.
3 Click the Automatic option to return the Renderer settings to the Automatic controls
using the automatic Dolby Atmos algorithms to calculate the downmix trims.
1 In the timeline, adjust the horizontal and vertical zoom until you can see the full width
of the audio clips horizontally, as well as the Automation dropdown menu in the
track headers.
2 Scroll down to track A28 Effects Object 1. Select the A28 track header.
3 Start playback from the beginning of the clips and watch the panners for the effects
objects move based on automation metadata.
The small pan control for each track in the mixer shows the panning action for all
visible channel strips during playback. For a more detailed look at the panning
automation for an individual track, you can open the 3D Audio Pan window.
4 Continue playback or restart playback from the beginning of the clips. In the mixer,
double-click the pan control for one of the Effect Object tracks.
The 3D Audio Pan window is where you adjust the pan controls to record automation
during a mix if you are using a mouse and keyboard.
1 In the timeline, set Automation Curve drop-menus for tracks A28–A29, and show the
L/R Pan curve.
You can clearly see that each of these tracks has very active pan automation.
1 Choose Fairlight > Immersive Audio > Space View Scope. At the bottom of the Space
View Scope, select the Show Beds option.
The Space View scope opens. Here you can see 11 purple spheres to represent the
7.1.2 bed track speakers and green spheres that represent the object tracks. The color
of the spheres in the Space View scope is based on their track color. The “Show active
level only” checkbox lets you choose to show all the track objects (unchecked) or only
the tracks with active levels (checked).
4 Select tracks A28–A33, right-click any of the selected track headers, and change the
color of the tracks to orange.
5 At the bottom of Space View Scope, choose “Show only selected” from the Objects
dropdown menu. Start playback from the beginning of the clips. Watch the Space
View scope.
6 Unsolo and deselect the A28–A33 tracks. Choose Show All from the Objects
dropdown menu.
7 Play the clips one more time to see and hear the relationship of the orange tracks and
the other object tracks. Feel free to show different pan curves for the A28–A33 tracks
or any of the object tracks.
8 When you’re finished, stop playback and close the Space View scope.
4 In the Preset Name field, type Dolby Atmos 7.1.4 plus 4 VCA.
5 Click OK.
The new preset is added to the list and can be applied to a new timeline. You’ll test-
drive the new preset at the end of this lesson.
1 Look at the Timeline shortcut menu in the upper-left corner of the timeline to verify
the name of the current timeline.
Just like other bouncing and delivery methods, you will need to mark a range in the
timeline to export.
5 Press R for the Range mode tool. Click any of the timeline clips to set a range for the
entire clip. Then press A to return to the Selection tool.
Notice that the Source is automatically set to the Atmos Send Patching, which you saw
earlier in the Patch Input/Output window. This patching passes the signal through
the sends to the internal Dolby Atmos Renderer for processing and to generate a new
Dolby Atmos master file.
8 Click Export.
9 In the Export Immersive Master finder window, navigate to the NF Dolby Atmos
Deliverables folder on the Desktop. Click Save.
That concludes your Dolby Atmos exploration with the Nature’s Fury project. Feel free to
use it as a study guide for observing, listening, and exploring Dolby Atmos integration in
DaVinci Resolve 18.
To enable a project for Dolby Atmos, you’ll need to go to the System Preferences > Video
and Audio I/O > Immersive Audio settings. Then you can create Dolby Atmos busses and
tracks as needed. From there, you can add content or split multichannel tracks into mono
tracks so they can be panned as individual objects. Use your imagination and the 3D space
to pan objects in any way that you choose.
For this exercise, you’ll create a new project and check the necessary settings for creating
and mixing Dolby Atmos content.
3 Choose DaVinci Resolve > Preferences to open the System Preferences window.
At the bottom of the Video and Audio I/O settings, you’ll see the Immersive Audio
formats that you can enable and work with in DaVinci Resolve 18. You can enable as
many formats as you choose
5 Check the Enable Dolby Atmos option, if necessary. Then click Save.
Once you have enabled Dolby Atmos for a project, you can create Dolby Atmos tracks
and busses. You can also enable Dolby Atmos for existing projects, like Hyperlight, so
you can expand the soundtrack to a full Dolby Atmos mix.
2 In the Create New Timeline dialog, name the new timeline Dolby Atmos Preset.
3 Check the option to Use Fairlight Preset and choose the Dolby Atmos 7.1.4 plus 4 VCA
preset from the dropdown menu.
4 Click Create.
Voila! A new timeline opens with the exact track setup and patching that you had in the
Nature’s Fury project. Even the orange track color on the A28–A33 tracks was included
in the preset.
The only thing you need to tidy up is clearing the orange track color and resetting
the panners since the preset assigned whatever position they were in (based on the
playhead) when you created the preset.
You can easily select all the tracks in the Tracks Index and then use the Remove Attributes
dialogue to remove the preset’s panning. First, you’ll need to turn off Automaton.
6 In the Timeline toolbar, click the Automation button to turn off Automation.
9 Scroll down to the bottom of the Trackslist and Shift-select the A109 Effects
Object 82 track.
10 Right-click any of the selected track headers and choose Remove Attributes.
11 In the Remove Attributes dialog, check the Pan option and then click Apply.
The mono panners for all 118 of the object tracks have been reset.
Well done! In a matter of seconds, you just saved the time and tedium of setting up a new
Dolby Atmos project from scratch.
While you have the empty timeline open, go to the Patch Input/Output window to see the
Dolby Atmos Send patching.
NOTE If you want to learn more about working with Dolby Atmos, you’ll find more
information at the Dolby.com website. Here are some helpful links to some of the
Dolby Atmos resources.
https://www.dolby.com/technologies/dolby-atmos/
https://professional.dolby.com/content-creation/Dolby-Atmos-for-content-creators/.
Lesson Review
1 True or false? Dolby Atmos requires DaVinci Resolve Studio.
c) System Preferences
d) Mixer
5 Where in the Fairlight page do you find the option to import a Dolby Atmos master file
so it will recreate the full mix, including content, automation, bed, and object tracks?
a) File menu
b) Fairlight menu
c) Media pool
d) Mixer
6 What does the 2 represent if you are monitoring a Dolby Atmos 7.1.2 master file?
a) overhead channels
c) immersive channels
d) object channels
2 c. Immersive audio formats including Dolby Atmos are enabled in the Video and Audio
I/O panel of the System Preferences window.
3 d. You can export IMF IAB and ADM BWF master files from either the Fairlight timeline
or the deliver page.
4 a
5 b. You can import a master file in the media pool as a single clip that will play back
through the Dolby Atmos Renderer, or import a master file through the Fairlight menu
Immersive tools to recreate the entire mix.
6 a
Congratulations!
You have completed The Fairlight Audio Guide to DaVinci Resolve 18 and are ready
to explore more editing, visual effects, color grading, and audio mixing functionality
using the additional certified books in this series. Completing all the lessons in this book
has prepared you to become a certified DaVinci Resolve user. You can take the online
certification exam by following the link below to earn your certificate.
We also invite you to become part of the DaVinci Resolve community by joining the web
forum on the Blackmagic Design website. https://forum.blackmagicdesign.com
There, you can ask further questions about the creative aspects of editing, color
correction, visual effects, and audio mixing.
We hope that you have found DaVinci Resolve 18’s professional audio tools to be intuitive
to learn and a perfect fit to become the hub of your creative workflow.
Index 657
audio scrollers, using for Bounce Selected Tracks to New Layer, 271
synchronization, 349–352 bounced files, locating, 588
audio track layers bouncing
crossfades, 144–150 audio clips, 308
nested timelines, 128–132 busses to create stems, 584–586
project preparation, 114–115, 141–143 to formats, 586–592
showing, 81–82 mixes, 580–584
audio tracks. See dialogue tracks; source stems, 588–590
audio tracks; tracks
tracks to create stems, 584–586
auto-ducking, 478
breathing and dialogue, 197–198
auto-leveling, applying to clips, 220–227
Bus Assign window, 515–516
automating
bus mapping, viewing, 515–516
pan controls, 555–559
bus tracks
plug-ins, 560–562
hiding in timeline, 71
track changes, 548–555
using in timeline, 563–565
automation. See also mixing with
automation busses. See also output busses;
submix busses
controls, 4, 71, 549
adding to outputs, 523–525
copying and pasting, 564–565
assigning to outputs, 523–525
moving, 565–570
auxiliary reverb bus, 497–506
Undo command, 559
automation curves, 547 bouncing to create stems, 584–586
658 Index
trimming synced audio, 194–198 previewing in reverse speed, 342–343
Chorus plug-in, using to multiply retiming, 325–331
voices, 360–364 scrubbing using loop jog, 200–205
Cinema Viewer mode, 338–340 scrubbing with JKL keys, 23
clicks, removing at sample level, 318–324 selecting, 124, 186
Clip Attributes window, 158–159, 171–172,
selecting and disabling, 64–65
176–177. See also Remove Attributes
speed changes, 344–347
clip automation, 539–548
splitting, 402–405
clip colors, changing, 116
trimming to timeline grid, 38–47
Clip Editing view, switching to Track
Automation view, 541–545 unlinking, 168–171
clip keyframes, editing modes, 541 cloud. See Blackmagic Cloud
clip levels colors, applying to clips and
adjusting, 211–213 tracks, 116, 585
Index 659
deleting auto-leveling to balance clips, 220–227
audio keyframes, 218 checkerboard editing, 184–191
ranges in timeline, 44–47 compressing, 472–475
unwanted sounds, 242–246 evaluating, 155–159
delivering evaluating and balancing levels, 162
custom clips, 602–605 increasing size and waveform, 198–200
mixes, 593–596 panning, 446–447
tracks, 578–580 reading meters for, 206–207
delivery options, Dolby Atmos, 621–622 sweetening with EQ, 461–467
diagetic versus non-diagetic Divergence controls, 441
sound, 337–338 “do to all selected” shortcut, 503. See also
dialogue Select All command
de-breathing, 197–198 Dolby Atmos
dynamic range, 207 adding files to timeline, 610–613
dialogue clarity, improving, 482–484 analyzing levels, 621–623
dialogue clip levels, balancing, 205–220 auto-patching to renderer, 635–636
dialogue editing, 154–155, 184. binaural rendering, 617–620
See also editing
configuration preset, 651–654
dialogue equalization. See also
delivery options, 623–628
EQ (equalization)
enabling for mixing, 650–651
adjusting, 461
exporting master file, 648–650
applying, 454–457
“flying object” pan automation, 641–646
settings for comparison, 457–460
importing files to timeline, 610–613
dialogue frequency levels, 460–461
monitoring format, 638–639
Dialogue Leveler, 222–227
normalizing levels, 621–623
Dialogue Leveler Track FX, 310–317
panning automation in timeline, 643
dialogue levels, establishing
targets, 207–210 playback format, 614–615
dialogue mixer, 295. See also mixer project preparation, 608–609
dialogue recording, ADR, 83 rendering downmixes, 616–621
dialogue repair syncing video from A/V source
Elastic Wave time controls, 325–331 clip, 636–637
660 Index
Dolby Atmos timeline preset, Fader Snap mode, automation, 550
creating, 646–647 faders, controlling, 518
doubling tracks, 352–360 fades, adding to smooth sound
Down Arrow, using to move between edits, 256–264
clips, 188–190 Fairlight bussing formats, 488–496
downloading Fairlight FX plug-ins. See also plug-ins
DaVinci Resolve, xv adding to clips, 49–53
sound effects, xvii applying to clips, 279–285
downmixes, rendering, 616–620. combining speech modes, 291–295
See also mixes Graphical EQ controls, 296
dubbing mixer, 410 hums, 281
ducking, 478 reducing noise, 285–291
dynamic range sibilance, 295–301
audio post-production, 301 using controls in Inspector, 53–54
controlling, 467–475 Fairlight interface, streamlining for audio
editing, 115–116
E Fairlight page
ear fatigue, 562 bouncing mixes in, 580–584
Echo plug-in, 560–561 layout, 3
edit page, showing, 174 showing, 174
editing. See also audio editing; dialogue Fairlight Sound Library. See Sound Library
editing; Layered Audio Editing mode Fast Forward button, 4
portions of clips, 20–24 files, adding to timeline, 610–613
samples to correct waveforms, 322–324 filtering high frequencies, 385
track automation, 545–548 finishing tracks, project preparation,
Editing Panel, User Preferences, 71 578–580. See also audio finishing
Elastic Wave speed keyframes, Undo Fixed Bus format, 488
command, 328 Fixed Playhead mode, 194.
Elastic Wave time controls, 325–331 See also playhead
EQ (equalization). See also dialogue “flying object” pan automation, 641–646
equalization Focus mode multi-tool, 232–238, 262
creating sound barriers, 381–385 Foley footsteps, finishing, 401–402
sweetening dialogue tracks, 461–467 Foley Sampler
EQ carving, dialogue clarity, 482–484 adding sound effects to, 392–393
EQ controls, Fairlight FX plug-ins, 296 exploring, 390–393
Equalizer, Inspector, 296 recording footsteps to picture, 399–400
Extend Edit Selection submenu, 245 saving to Preset Manager, 402
transients to split clips, 402–405
F Foley sound effects
Fade In control area, 258 analyzing, 405–406
Fade Out controls, 258 evaluating, 365–367
fader controls, 425, 428–432 mapping and splitting sounds, 395–399
Index 661
modifying sample mapping, 393–395 J
sync point for alignment, 386–390 J key (play backward), 23
working with, 385 JKL keys
Foley sound, explained, 246 pressing, 123
footsteps. See Foley sound effects scrubbing with, 23
frequency filters, 385 using with looped playback, 138
FX, practicing, 109 jump navigation options, setting, 118–119
G K
gaps, filling with room tone, 264–274 K key (stop playback), 23
gating low-level noise, 302–305 Keyboard Customization window, 79
Grabber tool, Focus mode multi- keyboard shortcuts
tool, 232–238 audio scrubbing, 202
Graphical EQ controls, Fairlight FX Copy command, 189
plug-ins, 296 Cut command, 189
Grid View Options menu, 40–41 dipping sounds with, 246–248
“do to all selected,” 503
H
edit page, 174
headphones, checking, 438
Fairlight page, 174
hums, working with, 281, 305
fitting clips in timeline, 42
Hyperlight project, 61 keyframes, 29
markers, 22
I
moving clips between tracks, 187–190
IAB Dolby Atmos master file, 625
Nudge commands, 122
IMF package, Dolby Atmos master, 625
Out points, 23–24, 54
importing
Paste command, 189–190
ADR cue list, 95–101 play backward, 23
Dolby Atmos master, 629–640 play forward, 23
Dolby Atmos master file, 629–640 In points, 23–24, 54
files to timeline, 610–613 Project Settings window, 67
In points Range mode, 44–47, 140
clearing, 54 Razor tool, 123–124
marking, 23–24 Record button, 79
Input style, 75 Select All command, 124–128, 223
Inspector stop playback, 23
Audio panel, 25 timeline duplication, 114
Equalizer, 296 track selection, 190
keyframes, 218 zoom levels, 28
pitch controls, 356–357 zooming, 198
Reverb plug-in, 372 zooming in to timeline clips, 64
interface, resizing, 421–422 zooming timeline, 134
662 Index
keyframes. See also speed keyframes Merge Import button, 98
adding, 29 Meter plug-in, 225
changing clip levels, 213–219 meters, reading for dialogue, 206–207
Inspector, 218 microphone, setting up, 58–59
mixed stems, audio finishing with, 597‑602.
L See also dialogue stems; stems
L key (play forward), 23 mixer. See also dialogue mixer
Latch mode, automation, 549 button, 5
Layered Audio Editing mode, 250–256. Path Settings, 76
See also editing showing, 48
layers, bouncing selections to, 269–272. Mixer Options menu, 522
See also audio layers mixes. See also downmixes
lesson files, acquiring, xvi bouncing in Fairlight page, 580–584
Linked Selection button, timeline, 169 delivering, 593–596
linking, tracks for single-fader massaging, 574
control, 428–432
mixing
List View button, 13
clip versions, 359
Local project library, creating, xviii–xix
simplifying using busses, 507–517
Loop button, 4
mixing with automation. See also
loop jog, using to scrub audio, 200–205 automation
looped playback, using to select clips vs. tracks, 539–548
takes, 138–141 project preparation, 538
loudness monitoring
American standards, 418 loudness in mixes, 581–584
monitoring in mixes, 581–584 outputs and busses, 525–530
of sound effects, 371 track input, 75–77
loudness history curves, showing, 568–570 monitoring levels, setting, 413–420
low-level noise, gating, 302–305. monitoring panel
See also noise
hiding, 6
M resizing, 421
mono tracks, panning, 599–602
markers
moved clips, undoing, 126
moving between, 21
moving
moving to update viewer, 237
automation with clips, 565–570
setting, 22
premixed timeline, 570–574
working with, 14–16
multichannel mono tracks,
marking panning, 599–602
In and Out points, 23–24 multichannel tracks, converting to linked
portions of clips, 20–24 groups, 162–164. See also tracks
media pool, previewing audio music levels, dipping, 478–481. See also
clips in, 11–13 stinger music clip
media sync, Blackmagic Cloud Store, xxii Mute button, 9–10, 207
Index 663
N percussion transition effect,
creating, 341–347
Nature’s Fury, 608
physical sound barriers, creating, 381–385
Navigation Options, 118
pitch changes, applying to clips, 356–357
nested timelines, working with, 128–132.
See also timeline play backward ( J key), 23
noise, reducing, 285–291. See also play forward (L key), 23
low‑level noise playback, stopping, 5
normalization of clips, 220–227 playback behavior, changing, 65–66
normalizing levels, Dolby Atmos, 621–622 playback format, Dolby Atmos, 614–615
Nudge commands, 121–122 playhead. See also Fixed Playhead mode
locating, 4
O moving, 8, 116
object groups, Dolby Atmos master plosives. See also unwanted sounds
file, 631–635
defined, 219
Option key. See keyboard shortcuts
reducing with keyframes, 238–248
Out points
plug-ins. See also Fairlight FX plug-ins;
clearing, 54 processor intensive plug-ins
marking, 23–24 applying, 283–285
output busses. See also busses automating, 560–562
creating, 518–520 combining speech modes, 291–295
splitting, 530–533 time-based, 365
outputs Pointer mode, returning to, 195
adding tracks and busses to, 523–525 Preferences panel, User Preferences, 202
monitoring, 525–530 premixed timeline, moving to master
timeline, 570–574. See also timeline
P pre-mixing levels, project
pan automation, “flying object,” 641–646 preparation, 410–413
pan controls, automating, 555–559 presets, naming, 379. See also
panner viewer, 3D pan controls, 444 customized presets
664 Index
recording sidechain compression, dipping music
animation, 550 levels, 478–481. See also compressing
dialogue tracks
dialogue stems, 591–592
single-fader control, linking tracks
System Generator, 101–108
for, 428–432
in timeline, 77–83
Slope dial, Fairlight FX plug-ins, 282
reference tracks, using for monitoring
levels, 413–420 Snap mode, automation, 549
Index 665
soundtracks (continued) synced audio, trimming in
showing and hiding, 26–28 timeline, 194–198
Undo command, 31 synchronization, video and audio scrollers
for, 349–352
zooming in and out of, 26–28
System Generator, recording, 101–108
source audio tracks, deleting, 180
system requirements, xv
source channels, changing in timeline, 180
source clips, remapping in Media Pool, T
175–179. See also audio clips
Space View scope, 446, 644–646 takes
spaces, simulating with reverb, 373–378 selecting, 138–141
speech modes, combining, 291–295 Undo command, 400
speed changes, applying to clips, 344–347 thickening sound, 357–360
speed keyframes, using to retime waveforms, through edits, 119
328–331. See also keyframes time-based plug-ins
split edits, 119 applying, 368–371
splitting mixing and matching, 380–381
clips, 402–405 timecode, setting, 142–143
clips with Range Selection tool, 124–128 timeline. See also nested timelines;
output busses, 530–533 premixed timeline
takes in layers, 123 creating for recording, 69–71
spotting list, defined, 338 deleting ranges in, 44–47
SPPM (sample peak program meter), 210 duplicating, 114
Spread control, 439, 441 Linked Selection button, 169
start timecode, setting, 142–143 moving to start and end, 6
stems. See also dialogue stems; recording in, 77–83
mixed stems ruler, 4
comparing, 592 selecting ranges in, 44–47
creating, 584 SFX experimentation, 343–344
renaming and bouncing, 588–590 zooming, 134
stereo spread, controlling, 437–443 Timeline View Options menu, 39, 118
Stereo Width plug-in, 447–450 toggle automation, 4
stinger music clip, 13. See also music levels Touch mode, automation, 549–554
Stop button, 4 track automation
stop playback (K key), 23 adding and editing, 545–548
submix busses. See also busses implementing, 539–548
assigning tracks to, 510–514 Track Automation view, switching to Clip
benefits of, 517 Editing view, 541–545
defined, 507 track changes, automating, 548–555
sweetening track controls, swiping on or off, 27
controlling dynamic range, 467–475 Track FX
dialogue with EQ, 461–467 applying, 315–317
EQ for dialogue tracks, 454–461 enabling in mixer, 313
666 Index
track groups, unlinking, 165–167 takes, 400
track headers, controls in, 8 volume overlay, 162
track input, monitoring, 75–77 unlinking
track levels clips, 168–171
balancing, 47–54 track groups, 165–167
evaluating and setting, 423–425 unwanted sounds. See also
track pan controls, 429 plosives; sounds
track presets, saving and dipping with keyframes, 246–248
applying, 475–477 Focus Mode Multi-Tool, 232–238
track type, changing, 71 project preparation, 230–231
tracks. See also background tracks; “bed” reducing plosives, 238–248
track; dialogue tracks; multichannel
replacing words, 248–256
tracks; soundtracks
selecting and deleting, 242–246
adding to outputs, 523–525
Up Arrow, using to move between
bouncing to create stems, 584–586
clips, 188–190
controlling stereo spread, 437–443
User Preferences
creating manually, 33
Editing Panel, 71
doubling to thicken sound, 352–360
Preferences panel, 202
enlarging, 116
evaluating during playback, 7–11 V
hiding, 26–28 VCA groups, Dolby Atmos
linking for single-fader control, 428–432 master file, 631–635
naming and moving, 19 vertical alignment, constraining, 139
patching for recording, 72–77 video only, monitoring, 6–7
resizing, 28 video scrollers, using for
selecting, 190 synchronization, 349–352
selecting and deselecting, 9 viewer
showing, 26–28 resizing, 421
zooming in and out of, 26–28 updating, 237
Tracks index, 26–28 VO (voiceover), 58. See also
tracks index rearranging busses “scratch” voiceover
in, 520–522 voice isolation, repairing dialogue
transients, using to split clips, 402–405 with, 310–317
Trim tool, Focus mode multi-tool, 232–238 Voice Isolation Track FX, 310–317
trimming synced audio, 194–198 voiceover and ADR
audio locations, 66–68
U microphone setup, 58–59
Undo command patching tracks, 72–77
automation, 559 project preparation, 59–61
Elastic Wave speed keyframes, 328 recording in timeline, 77–83
moved clips, 126 recording System Generator, 101–109
soundtracks, 31 scene preview, 61–66
Index 667
timeline for recording, 69–71
voiceover composite track,
building, 132–141
voices, multiplying, 360–364
volume fader, 207
volume levels
changing for clips, 18, 203
changing in Inspector, 24–26
protecting, 134
volume overlay, Undo command, 162
W
waveforms
comparing, 120
correcting, 322–324
increasing for trimming, 198–200
retiming, 328–331
words from outtakes, replacing, 248–256
writing automation, 548
Z
zooming
in and out of tracks, 26–28, 198
timeline, 134
into timeline clips, 64
668 Index
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Index 669
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